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HILTON PICTURES SOLD. 
(EIGHTY-TWO PAINTINGS BKOUGHT 
$56,465 LAST EVENING. 


_ Fairly Active Bidding at the Opening Ses- 
sions of the Sale—Isidor Wormser, Jr., 
Paid &9,000 for a Dupre, the Largest 
Price of the Evening—List of Chief Sales. 


Picture buyers bid $56,465 in Chickering 

' Hall last evening for eighty-two paintings from 
the late Henry Hilton’s collection, Thomas E. 
Kirby being the auctioneer, acting for the; 
Ameriean Art Association, managers of the) 
sale. The balance of the collection, eighty- 

‘five paintings, will be sold at. the! 
same place this evening. The sale of Judge 

 Hilton’s ceramics and ‘miscellaneous bric-a- | 

-brac was begun yesterday afternoon at the 
American Art Galleries and realized $7,561, 

- which, with the proceeds of the evening sale, 
makes $64,026 as.the total for the first day. |. 

_The bric-a-brac sale will continue to-day. to- 
morrow and Friday, in the afternoon, at the 
galleries, 

Chickering Hall was comfortably filled last | “a * 
“evening and the bidding was ready, although; 
three or four times persons, apparently not 

accustomed to Mr. Kirby’s celerity as well in 
closing a sale as in crying a bid, called an ad- =e Rae 
vanced bid after the gavel had fallen. There 
were more individual buyers{tthan jdealers | 
in the audience. A number of the paint 

-ings sold go out of the city. H. 8. Arnold of 
Boston was the successful bidder on twelve of 
them, and S. P. Shotter of Savannah; Ga., got | _— 
six of them. é a 
- Isidor Wormser, Jr., paid the highest price of; 
the evening, $9,000, for Dupré’s “Landscape 
and Sheep.” John D. Crimmins took Mun- 

‘kaesy’s “Visit to the Baby” for $6,100. The 
bidding on the Dupré went from $500 to) 
e500 at a jump, then to $3,000 and to $5,000. 
and on to the selling price. The Munkdecsy | — 

‘started at $1,000 and the next bids were $1,100, ; 


| 
$1,200, $2,000 and $3,000. Vibert’s “Cardinal 
Composing a Letter,” fairly ran from $500 to 

$1,000 and on to $2,500, and from $2,700 the | bk 
bids advanced by $25 at aaall. The picture | ae 
sold at $3.000. Hugh J. Grant paid $4,100 ror 
Jules Worms’s “Spanish Dancer.” 

There was a lively little seramble of the 
people who like story pictures for Karl Kron- 
berger’s “The Lost Night-key,” which went 
for $400. Frank W. Savin appeared again asa / 
buyer, taking Firmin-Girard’s ‘Paris Flower 


Market” for $200. “The Stirrup Cup” o 
Lucien Alphonse Gros brought out biddine 
as lively as that for “The Lost Night-key,” the 
bids running $100, $200, $500, and on to $600 | 
more slowly. “Vhe Game of Bowla” went 
Banierly. jumping from $200 to $500 and 


The paintings which brought $400 and above 
were the following:  - 


“Ihe Lost Night-key,’’ Karl Kronberger; 


George nF Opes si aadag ae lesa me MeuoLanel ey $400 | 
“The Stirrup Cup.” L.A. Gros: H, Springer. 600 
“The Game of Bowls,’ J.. 0. Meissonier: ' 

Re Webasle yn) ix loci {ae W ca ky ol Sean 685 | 
“Scene in Holland,’ R. W.. Van Boskerck; | 


Bi lore VOR... stunt Eco aan ne Se ete 500. 
“In the Park,’’ J. R. Goubie; Henry Selig- Pigs | 
eat De oes re eee nes eh dting ee cans othelies eaten gas 580. 

Murical Crit. ts, Luis Jimenez; KE. 0, 

Qonverse. 2.2.2.0... Spieaien AR 3 Pt ens 925 | 


Gos doerks 


iit, auas 


e Madrazo; HS fg 
1,125 
om AL Goupil; ‘Dp. RP. ie 
Oswald Ach- Pa pte 
800 
6. Ee Delorts L. et 
G25 
1 950. 
* gf ees: John BL eee 
ES OS OE AA gaa a 6,100 
e Prinés of Conde,’ a ree A ee 
one 510. 
825 
“Vaeria Broa: a / 
2,800 


R. De adraso: H.S.arnold "850 
( hoice,”’ 0, E. DeBeaumont: 


Ra ee 
> Eu rope, Paris,” Jean Boraud; 3 
PE TISPRENC chatensscn chy, Sas 3 stb de ave eters crise 410 
Madame du. Berry,” Don Luis Jo 
pe Mor _, 540 
ster,’’ Saher "Max: i ea: Seenugen RS 


HF oes ee ee rere wees ar tesserae eeaees — 410 


oon sale of miscellaneous bric- 
‘galleries where the ceramics and 


ne hundred and win -six lots were 

vot for $7,561. pees ranged 

haa eard nay 

ihn wl gay vases resembling | 
0 for a Doulton jardiniere, A 


platinum, catalogued as “French 
hn, Sévres pote-tendre style,” sold for 
"wo vases of Royal Vienna porcelain 

00 each. Royal Worcester, epee 


yalport, Wedgwood. Carlsbad 
talogue of the afternoon’s offerings, 


cent glass. 
ers made their purchases with mani- 
dence in Judge Hilton’s judgment, 
bids were ne aceordanee. Mr. Kirby, as 
eld the bidders to a degree of prompt- ' 
eons him to clear the catalogue in | 
rder. but there was singular briskness, 
e bidding for a pair of Hindu anklets, of. 
bas silver, with three rows of bells, which 
sold for $33. A walrus tusk thermometer, nine’ 
inches tong, sold for $20 and an ivory tusk ther-_ 
mometer, twenty-three inches Digh, . for $50. Ao 
edgwood reproduction of the Portland vase | 
n tt e South h Kensington Museum went for 
The continuing interest in eenanerty a 
feemed to be reflected in the hbidd ing on an 
ivory miniature of the Corsican ue Durieux, 
pina was sent up from $20 to $102.50, A | 

re sereen in ormolu, with portraits of 


o $330 for a | 


V., Louis XV. and Louis XVL., sold at | 
. id 


arearied an attendance that filled one | 
eo ects came under the auctioneer’s | 


n 
ases in kine’ s blue glaze, embossed in | 


cloisonne productions were frequent | 


re’s English faience, French faience | 


+ BT 


| “Sheep in the Woods’? ‘Brings | 
- —The Afternoon | Sale of Bric-a 


~ Bighty-seven paintings of the. -eollee 

| made by the late Henry Hilton were. sol 
Chickering Hall last evéning for $62,250. 
| was the second and last evening’s sale of Ji 
“Hilton’s pictures, conducted — by Thomas. 
‘Kirby as auctioneer for the American Art Asso= 
ciation. managers of the sale.. The collection 

| of 169 paintings offered brought $118,715. 

The buyers were ready with their bids on al 
evenings. Dealers took a goodly share of last 
evening’s offerings. The highest price of the 
/ 


evening and of the sale was paid by J. W. Gates, 

who got Meissonier’s “L’Aum@6ne” for $18,300, | 
after some lively bidding, which. carried the 
‘price up from $5,000, the starting ee ‘ 
- The painting was purchased by A ewart 

| for $24,000. It is well known and has’ been. 

often reproduced. A horseman has halted on 
a narrow road, foliage full of light on either 
side of it,a little sky visible where the trees. 
open above and back of the horseman, who is. 
handing some money toa peusant woman by 
the roadside; shadows of the, group fall to the 
foreground. Mr. Gates was in-the sale for 
‘Meissonier only, and bid up the painter’s small | 
-water-color portrait of himself from $500 te 
$1,700, The portrait was painted for A. al | 
Stewart and given him by the artist. 

Jacquet’s “Head ofa Young Girl,”’ which dite 
fers a good deal from some of.-the artist’s work | 
familiar here, was bought by a member of 

| Judge Hilton’s family for $1,100,as were a. 
number of other pictures, including Jacque’s 
“Sheep in the Woods,” for which the buyer. 
paid $7,800; Madrazo’s ‘The Album.” Be- 
reaud’s “Condolences,” de Beaumont’s “Tomb > 
‘of Philippe Pot,” and Boldini’s ‘In the Garden.” 
*J; H. Flagler bought Bruneri’s “Canal Scene in | 

Venice” for $270, and E. Thalmann Willems’ 8 


' “Dressing the Bride” for $210. W, A. Clark, it | 
' was said, was represented among ihe bidders, 
LS Arno)d of Boston, who bought at me on 


‘day evening’s sale, was a purchaser of some 
the smaller pictures last night. 
The second afternoon’s sale, of the four af-- 
ere oons allotted to the disposition of Judge | 
ton’s bric-a-brac, took place hc pltegs a 
_ the American Art Galleries, and during a P 
| of the time the auction Beg uacry was crow ed. 
The sale brought $22, 75, which with the 
$7,561 proceeds of ey first afternoon mak : 
the total for the bric-a-brae so far $29,725.7 - 
Adding the $118,715 fetched by the pictures, 
the proceeds of the sale to date are $148,-. 
440.75. A Sévres dinner service, the smaller 
picees of which were, however, made outside | 
e300 and 2° sold at $1,225, Another went at 
Oandasimilar breakfast service at $330. 
pair of tall Sévres vases, of lapis lazuli 
gare one of which is fire-cracked, sold for 
A pair of high, soft paste, ovoid’ vases | 
with turauoise glaze, went at $1,200. A pair. 
_oft Sévres vases, turquoise-blue, mottled glaze, | 
ef ela te form, elbs inches high, went at 


SALE AT CHICKERING HALL 


TUESDAY AND WEDNESDAY EVENINGS 
FEBRUARY 13TH AND I4TH, AT EIGHT O'CLOCK 


ART COLLECTION 


OF THE LATE 


HENRY HILTON 


AND AT 


THE AMERICAN ART GALLERIES 


TUESDAY, WEDNESDAY, THURSDAY AND FRIDAY AFTERNOONS 
FEBRUARY 13TH, I4TH, I5TH AND I6TH, AT 2.30 O'CLOCK 


“wo pate-tenar eR ‘inches h high, 
which came from the oes. 
said to have cost origin N 

bought.by Mrs. HJ. Chisholm for 81.470" ey 

Sevres jardiniere of amphora shape ‘sol a 

0, a similar one of different co lor warlb Ut 
-and another at $725. Two Sdvres bleu-de-rot 
ovoid vases, fourteen inches tall, sold. Hes aa 
Seven Sévres cups and saucers so oy at 50 
8 ch, andeighteen others at $15.50 each. - 

Napoleon’ dinner service in Sevres went oe 
Bighteen Crown Derby dinner plates 
sold at $15.50 each. S. P. Shotter of Savannah 
“was among the buyers, and it was reporte 
ooo purchases were made for WwW. Aa 

lar 

ollowing are the paintings which sold at | 

or more, each, last evening: 

“Tn the Garden,”’ G. Boldinisto asus Pa SARS aN $628 
“In the Trenches,’ E. P.: 1 ae ee 

L. C. Delmonico.. 
“The Learned Monk, CS Meissonier; ‘Ba: Bt) 
| ‘ward Weston. . a WHS Os a 
“The Evening Meal, i H. Zugel: “A. F. Eno... ee Fs a 
| “The Empty Cradle,” G. Geets; P. H. Dugro... 475 
“The Chocolate Party,” A. Casanova, ....... 1,500 
Pas Fugitives,” G. Hi. Boughton; A. 


“Treasure Room: of Baron Rothschild, >, 4) 

Capobianchi; Edward Weston.. Sass bie ees ey OER ee 
“On the Seine,”’ K.P. Daubigny; R. C. Vose.. 610. 
“Tomb of Philippe Pot,’’ C. E. De Beaumont. - . 500— 
| “Christmas Time,’’ Bruck-Lajos; George J. 
HERP OOBOUL WT ce ves dicierccls wins oie ¥ La Wee lee oes aleitat mare 500, 
| “L’Aum6nd,” J. L. E. Meissonier; J. - W, Gates,18, 300 

“Portrait of Meissonier by Himeelf,” J. L. EB. 
» Meissonier; J. W. Gat ise ties ist sis Wah aye eiceeene - 1,700) 
‘Head of a Young Girl,” J. G. Jacquet.......... 1,100 
“Blind . Man’s Butt,” ron Baugniet; M. E. 


SOLON CEMNED. fasts aol cuiddwckilemie owes - 670) 
“The Little Sufferer,’’? W. A. Bouguereau; ‘Mrs. 
Charles Boughton Wood. . cistene dean k ea eee 
**Condolences, eds Beraud.. pet st APR AE "475 
“Sheep in the ‘Woods,’ CH. Jacaue, sess s-- «:- 1,800 

“La Plage d'Yport,” (Seine Inférioute):?* By 
*. Toudoze; F. W. Savin. 750 | 
“The Cardinal’s Reception, Don ‘Luis ‘Alva- : 
rez; Edward Weston..... Biches ie Ue sig eee tpehatan ratte 4,85. 
“Overlooking the » Bosphorous,’’ F. Zeim;-< _ 
Adolph. Lewissohn.. 2.50. 0.000 0 2e0 008 1,500 
“Thoughts of the Absent,’’ J.: M. ‘AG. Ferrier; 
PTB ROA TN OLE Ceri ee Oe ian seo di Sans lee a a 6425 
“Trying the Falcons,”’ V’ P. Huguet; L.. C. 
elmonico. Soak cuigceS Oe 
“The Old® Old Story,” ‘Firmin-Girard; 0. M. SOA 
' Atkins . 525) 
“The Oroquet Party, 2 Pp HS “Kecmimerer M. ceed 
E. Bernheimer. . Ue ~ 600. 
| “The Game of Cards, an a Lesrel; Pci. date 
Kavanagh......... PEPE RE A A cS 420 
“The Toilet, ** EH. A. Piot; George Thompson... 400 
“The Album,” 1 Rs De Madrazo. eC oreceseeos oocee 800 


cee 


ATALOGUE OF MODERN 
PAINTINGS, STATUARY, 
BRONZES, CERAMICS AND OTHER 
ARTISTIC PROPERTY COLLECTED 
BY THeeeATe 


HENRY HILTON 


TO BE DISPOSED OF AT ABSOLUTE PUBLIC SALE BY 
ORDER OF THE EXECUTORS 


ON TUESDAY AND WEDNESDAY EVENINGS 
FEBRUARY 13TH AND 14TH AT EIGHT O’CLOCK 


AT CHICKERING HALL 


FIFTH AVENUE AND EIGHTEENTH STREET 
AND 
ON THE AFTERNOONS OF FEBRUARY 13TH AND 
THREE FOLLOWING DAYS AT 2:30 O’CLOCK 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE, SOUTH 


WHERE THE ENTIRE COLLECTION WILL BE ON 
EXHIBITION FROM WEDNESDAY, FEBRUARY 7TH, 
UNTIL THE FIRST DAY OF SALE, INCLUSIVE 


THOMAS E. KIRBY AMERICAN ART ASSOCIATION 
AUCTIONEER MANAGERS 


NEW YORK 
so 


1900 


 .S”. 


Q 
SAS 


Ree 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute 
arise between two or more Bidders, the Lot so in dispute shall 
be immediately put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid 
which is merely a nominal or fractional advance, and, there- 
fore, in his judgment, likely to affect the Sale injuriously. 


*3. The Purchasers to give their names and addresses, and 
to pay down a cash deposit, or the whole of the Purchase- 
money, 2f veguired, in default of which the Lot or Lots so 
purchased to be immediately put up again and re-sold. 


4. The lots to be taken away at the Buyer’s Expense and 
Risk wpon the conclusion of the Sale, and the remainder of the 
Purchase-money to be absolutely paid, or otherwise settled for 
to the satisfaction of the Auctioneer, on or before delivery ; 
in default of which the undersigned will not hold themselves 
responsible if the Lots be lost, stolen, damaged, or destroyed, 
but they will be left at the sole risk of the Purchaser. 


5. While the undersigned will not hold themselves responsible 
Jor the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot; and make no 
Warranty whatever, they will, upon receiving previous to date 
of Sale trustworthy expert opinion in writing that any Paint- 
ing or other Work of Art ts not what it is represented to be, use 
every efforton their part to furnish proof to the contrary, fail- 
ing in which, the object or objects in question will be sold sub- 
ject to the declaration of the aforesaid expert, he being lable to 
the Owner or Owners thereof, for damage or injury occasioned 
thereby. 


6. To prevent inaccuracy in delivery, and inconvenience in 
the settlement of the Purchases, no Lot can, on any account, 
be removed during the Sale. 


7. Upon failure to comply with the above conditions, the 
money deposited in part payment shall be forfeited; all Lots 
uncleared within one day from conclusion of Sale shall be 
re-sold by public or private sale, without further notice, and 
the deficiency (if any) attending such re-sale shall be made 
good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to 
the right of the Auctioneer to enforce the contract made at 
this Sale, without such re-sale, if he thinks fit. 


THE AMERICAN ART ASSOCIATION, 
MANAGERS. 
THOMAS E, KIRBY, 
Auctioneer. 


Pes 
> 4 : 
3 , 2 
ve a in 
a 
a as ! 


ARTISTS REPRESENTED 


ACHENBACH, O., 
On the Quay 


ADAN, L. E., 
L’Eté de St. Martin 
The Arrival at the Chateau 


ALVAREZ, Don LuwIs, 
Toilette of Madame du Barry 
The Cardinal’s Reception 


ANDERS, J. E., 
Young Woman Reading 
A Brunette 


ANSDELIL, R., 
Water Carriers 


ATALAYA, E., 
Love Laughs at Locksmiths 


BACHEREAU, VIcTor, 


CATALOGUE 
NUMBERS 


60 


55 
82 


78 
147 


18 
98 


161 


167 


Soldiers of Henry II in One of the 


Halls of the Louvre 


39 


La Veille d’un Mariage au XVI™ Siécle 79 


BALLAVOINE, J. F., 
Take Care 


BAUGNIET, C., 
The Engagement Ring 
Blind Man’s Buff 
Wintertime 


IOI 


118 


139 
149 


BEAUMONT, C. E. DE, 
The Difficult Choice 
Tomb of Philippe Pot 


BERANGER, A. E., 
The Bouquet Girl 


BERAUD, Jean, 
La Place de l’Europe, Paris 
Condolences 


BERNE-BELLECOUR, E. P., 
In the Trenches 


BEROUD, Louts, 
La Place St. Sulpice 


BEYLE, P. M., 
Une Partie de Dames 


BOLDINI, G., 
In the Garden 


BOMBLED, CHARLEs, 
Visiting the Outposts 
Arab Videttes 
Wagons in Snowstorm 


BOUGHTON, GeorceE H., 
English Landscape 
Huguenot Fugitives 


BOUGUEREAU, W. A., 
Timidity 
The Little Sufferer 


BRETON, Leon, 
The Morning Ride 


BRICHER, A. T., 
Coast of Maine 


BRILLOUIN, L. G.,, 
Three Cronies 
The Critics 


CATALOGUE 
NUMBERS 


72 
125 


87 


77 
141 


89 


159 


75 


88 


49 
123 
128 


57 


115 


43 
140 


170 


93 


86 
107 


BROZIK-VACSLAV,  NOMBEES 


The Presentation 70 
BRUCK-LAJOS, 

Christmas Time 129 
BRUNERI, F., 

Canal Scene in Venice 116 
BURGERS, H. J., 

On the Bridge 20 


CAPOBIANCHI, V., 
The New Robe 67 
Treasure Room of Baron Rothschild 120 


CASANOVA, A., 


Waiting 34 

The Chocolate Party 114 
CASTIGLIONE, G., 

Near the Garden Gate IIO 
CHANET, H., 

The Birthday 150 
SLAnKIS, G:, 

Pendant le Repos—Grandes Manceu- 

vres 47 


COMPTE-CALIKX, F. C., 


On the Way to Market 6 
COOMANS, J., 
A Greek Girl 16 


CORTAZZO, O., 
Unsuccessful gI 


DAUBIGNY, Karz P., 
On the Seine 121 


DELACROIS, F., 
Harvesting 119 


DELORT, C. E., eens 


Arrival of the Cardinal 61 
DOLPH, J. H., 

Head of Cat 84 

A Pug Dog 85 
DUCKER, E., 

Leaving Port 104 
DUPRE, JULEs, 

Landscape and Sheep 51 
ENRIQUE, J., 

On the Terrace go 
ERDMAN, OrTOo, 

Love in the Pantry 102 
ERNST, R., 

The Letter 38 
FALERO, Luts, 

Egyptian Dancing Girl 92 
FAY, J., 

Italian Peasants 126 


FERRIER, J. M. A. G,, 
Thoughts of the Absent I51 


FIRMIN-GIRARD, 

The New Novel I 

Paris Flower Market 5 

Fishing 117 

The Old, Old Story 153 
FRAPPA, Jos, 

Is it Raining ? 9 
GALOFRE, B., 

The Bird Charmer 163 
GARIDO, E. L.,- 

In the Luxembourg Garden 103 


4 


CATALOGUE 
GEETS, G., nates 


The Empty Cradle 10g 
GEROME, J. L., 

The Mosque of Borurssa 63 
GOUBIE, J. R., 

In the Park 29 
Sourit, J. A., 

The Interesting Book 59 
GOUPIL, L. L., 

Head of a Young Girl 10 
GROs, L, A., 

The Stirrup Cup 8 

Prisoners of War 81 


GRUTZNER, E., 


Painting In 40 

Painting Out 4I 
HAGBORG, A., 

On the Beach 28 
HUE, Cuar.es D., 

The Betrothal 97 
HUGUET, V. P.,; 

Trying the Falcons 152 
HUMBORG, A., 

Testing the Vintage 25 

Monks Preparing for a Feast 155 
HUNTEN, Emi, 

French Prisoners in the Rear 53 
INGOMAR, G., 

Weary 19 


INNOCENTYI, G., 
The Brigand 92 


ee _ 


JACQUE, C. E., 
Sheepfold 
Sheep in the Woods 


FACOQUET, J. G., 
Head of Young Girl 


JANSSEN, J., 
Landscape in Ardennes 


JIMENEZ, Luts, 
Musical Critics 


KAEMMERER, F. H., 
Going to Church 
The Croquet Party 


KIESEL, Konrap, 
Bertha 


KLINKENBERG, J. C. K., 
Courtyard of a Cloister 


KOWALSKI, A. von W., 
Scene in Poland 


KRONBERGER, K., 
The Lost Night-key 


KUHL, G., 
Courtship 


LAMBINET, E., 
On the Seine 


LASSOW, HEINRICH, 
Mother and Child 


LAUPHEIMER, A., 
State Secrets 


LE GRAND, R., 
Cornered 


LEISTEN, J., 
Grandma’s Birthday 
6 


CATALOGUE 
NUMBERS 


52 
142 


137 


144 


105 


127 


31 


22 


LELOIR, A. L., 7 oe 


At the Rendezvous 56 
LEON vy ESCOSURA 

Presenting a Bouquet 23 
LESREL, A. A., 

Baptism of the Prince of Condé 68 

The Game of Cards 156 


LEYENDECKER, P., 
Moliére Reading before Ninon d’Enclos 54 


L,HERNAULT, J., 


Visit to the Fortune-teller 112 
LOUSTAUNAU, L. A. G., 

The Amateur Artist 95 
MADRAZO, R. DE, 

The Memorandum 58 

After the Ball 71 

The Album 168 
MAKART, Hans, 

The Unwelcome Salutation 69 

MARCHETTI, V., 
|The Siesta 15 

MASO, F., 

In the Boudoir 124 
MASSANI, P., 

In the Wine Vault 113 
MAX, GABRIEL, 

Brother and Sister 80 
MEISSONIER, JEAN CHARLES, 

The Game of Bowls 26 

The Learned Monk 94 
MEISSONIER, J. L. E., 

L’Aumé6éne 132 


Portrait of Meissonier by Himself E34 


lod 
/ 


MOREAU, CHARLES, 
Waiting for his Luncheon 


MULLER, Cuar.es L., 
Maiden Meditation 


MUNKACSY, MIHALY DE, 
Visit to the Baby 


OUTIN, PIERRE 
Moorish Waitress 


PALMAROLI, Don VICENTE, 
The Day after the Début 
The Welcome Address 


PARTON, ARTHUR, 
Milford on the Delaware 


PERALTA, F., 
The Proposal 


PICART Fab. 
Une Affaire Jugée 


PIEEZ AO; 
Courting 


PINCHART, E. A., 
Chrysalis 
Feeding the Birds 


PLOW eat. 
The Toilet 


PROTAIS, P. A., 


Troops Marching in a Rainstorm 


RAFFAELLL, J. F., 
In a Moorish Garden 


RIBOUV ALG, 
Mending his Pen 


RICHET, Leon, 
In the Woods 


CATALOGUE 
NUMBERS. 


37 
114 
64 
13 


50 


Io0o 


122 


162 


33 
44 


12 


30 


’ CATALOGUE 
Rico, MARTIN, NUMBERS 


Fleet in Venice 45 
SAINT-CYR, H. Govuvion, 

Ophelia 83 
SHADE, W. A., 

Teasing 145 
SHOUTEN, HEnry, 

Cattle and Landscape 160 

Cows in Pasture 164 
SIMONETTHI, C. A., 

The Forbidden Book 21 
BUCA TELLI, A., 

Street Scene in Rome 14 
ges.) boy. [., 

Summer Hours 14 


TOUDOUZE, E., 
La Plage d’Yport (Seine Inférieure) 146 


TOULMOUCHE, AucusreE, 


Admiration 96 

Confidential Revelations 131 
UNKNOWN. 

Tasso Entering the Monastery 169 
VAN BOSKERCK, R. W., 

Scene in Holland 27 
VANDENVOS, T., 

Spanish Interior III 
VANDER-SSYP, A., 

Nathalie 17 
VIBERT, J. G.,, 

A Cardinal Composing a Letter 46 
VIRY, Pauvt, 

The Duet 62 

On the Terrace 157 


WAGNER, F, eee 


Gathering Flowers 135 
WAHLBERG, ALFRED, 

Sunset after the Storm 65 
WALKER, J., 

French Cavalry Officers II 
WEEKS, E. L., é 

The Gate of a Fondak 66 
WERNER, F., 

Consulting the Map 106 
WILLEMS, F., 

The Portrait : 134 

Dressing the Bride 143 
WORMS, JULEs, 

Spanish Dancer 42 
YEWELL, Grorce H., 

Turkish Carpet Bazaar 130 
ZIEM, F., 

View on Grand Canal, Venice 35 

Overlooking the Bosphorus 148 
ZUGEL, H., 

Sheep and Shepherd 24 


The Evening Meal 99 


Io 


7) 
ees) 
ae 
S 
og 


pe 


Pees ss 


CATALOGUE 


FIRST EVENING’S SALE 


Tuesday, February 13, 1900 


AT CHICKERING HALL 
BEGINNING AT EIGHT O’CLOCK 


7 


The favorite pupil of Gleyre, was born at Poncin in 


_ 1838. Under his master’s suggestion, he adopted astyle 


of light genre subjects which he treats with freshness 
of color and remarkable refinement. ‘The Flower 
Girl,” sold at the dispersion of the Stewart Collection, is 
remembered as a picture which, to quote one of Firmin- 
Girard’s admirers, ‘‘has placed his reputation on an 
enduring basis,” 


J — The New Novel 


Two ladies have found a secluded nook in the woods 
and have brought their camp-stools and needle-work to 
pass a quiet hour together. While one in pink is sew- 
ing, the other in gray reads to her the latest novel. 
Pretty in color arrangement and an excellent example. 

Signed at the left. Dated, 1874. 


Height, 14 inches ; width, 9% inches. 


13 


FIRMIN-GIRARD oY 


4 haat 


| 
| 
| 
| 
f 
| 


j 
% 


ee 


[se KONRAD KIESEL : 


KARL KRONBERGER eege47 


Among other genre subjects painted by Kronberger 
and owned in this country are: ‘‘ Law Proceedings,” 
‘‘Raree Show,” “ Politicians,” and ‘‘ Theft Discovered 
Too Late.” He was born at Freystadt, in Upper 
Austria, in 1841, and became a pupil of the Munich 
Academy under Anschiitz and Hiltensperger. 


2 — The Lost Night-key 


A good bourgeois in coat of dark green, with his red 
handkerchief sticking out of his tail pocket, has dropped 
his night-key in the deep snow just before the door of 
his house. A street lamp outside of the picture casts 
its yellow light on the walls and snow, and casts a dark 
shadow from the figure. Truthful in effect and interest- 
ing in subject. 

Signed at the right. 


Height, 16 inches; width, rz inches. 


tt Oe 


Though for a time a pupil of Paulsen, in Berlin, 
Kiesel belongs to Diisseldorf. He was born there in 
1846, and studied, after his return from Berlin, with 
Wilhelm Sohn. 


3 — Bertha 


A head of a beautiful girl of blond type. Her hat is 
adorned with a sweeping white plume, and her neck is 
encircled by a ruff. A bow of pink ribbon, and the black 
satin of her quilted bodice form other notes in the color 
scheme. 

Signed at the right. 


Height, roinches ; width, 8 inches. 


14 


Bere. OTTO PILTZ A. Qreer Oe 


Excellent characterization and good quality of color, 
both in his genre subjects and in his portraits, have 
given Professor Piltz a high position in contemporary 
German art. 


4 — Courting 


A peasant maid of the Tyrol, in a corner of the 
kitchen, drops her knitting while she smilingly listens 
to a country gallant seated near her, who thrums his 
guitar and talks to her. A pretty bit of genre. 

Signed at the right. 


Height, 12 inches; width, zo inches, 


Dera FIRMIN.GIRARD  -“2<<070 & Sev 


The favorite pupil of Gleyre, was born at Poncin in 
1838. Under his master’s suggestion, he adopted a 
style of light genre subjects, which he treats with fresh- 
ness ofcolor and remarkable refinement, ‘‘ The Flower 
Girl,’ sold at the dispersion of the Stewart collection, 
is remembered as a picture which, to quote one of 
Firmin-Girard’s admirers, ‘“‘has placed his reputation 
on an enduring basis.” 


5 — Paris Flower Market 


The florist, with her white cap, sits on the sidewalk 
overlooking the Seine, behind her éfalage of bouquets, 
cut flowers, and plants, while a lady stops to make a 
purchase. In the background are one of the bridges, 
the line of trees on the quay across the river, and the 
buildings that line it. 

Signed at the right. Dated, 1877. 


Height, 18 inches ; width, 12 inches. 
15 


O 
/8 FRANCISCO PERALTA 


es 


FRANCOIS CLAUDIUS COMPTE-CALIX 


The reproduction of many of his works by engraving 
and lithography has increased the reputation of Compte- 
Calix as a painter of genre subjects. He was born at 
Lyons in 1813, and died at Chanzay-d’Azergues in 1880, 


6 — On the Way to Market 


An Italian peasant-girl of the Campagna, painted in 
full length as she stands with her basket resting beside 
her on the ruin of an aqueduct, and her two jars of 
butter on the ground. Behind her an evening sky with 
the sun setting, and a stretch of country with a river. 
A fine piece of color and an excellent example. 

Signed at the right. 


Height, 21 inches ; width, rs inches. 


fhe 


After studying under Federico Madrazo in Madrid, 
Peralta visited Paris and then settled in Rome. He was 
establishing a good reputation, when, through the de- 
falcation of his banker, he lost his fortune. Broken in 
health, he returned to Seville, his native city, and died 
there in 1896. 


7 — The Proposal 


The lady seated in her great chair is coquettishly 
screening her face with a small fan, while the cavalier 
who sits at her side extends his hand to draw it away. 
Cleverly composed and bright in color. The costumes 
are of the time of Henri II. 

Signed at the left. 

Height, 18 inches; width, 13 inches. 
16 


ole pend bs 
ful s ae 


7 
600 


27? JOSE FRAPPA <-C- 


Meissonier was the master of Lucien Alphonse Gros, 
and the genre pictures of the pupil are well drawn and 
full of character. 


8 — The Stirrup Cup 


A horseman in Louis XIII. costume has stopped at a 
wayside inn for a drink. The man whois serving him 
stands at the door holding a ewer of wine, which the 
cavalier has just tasted from a glass, and is now in the 
act of holding it up before him, as he looks through 
what is left of it, to judge of its clearness and quality by 
letting the sunlight fall through it. The road winds 
into the picture through a wood, where a peasant is 
seen trudging along to his work. 

Signed at the left. Dated, 1876. 


Height, 20% inches; width, 17 inches. 


A pupil, successively, of Pils, Comte, and Dangin, 
José Frappa was born at St. Etienne, and has gained 
an enviable reputation by his treatment of genre sub- 
jects. 


9 — Is it Raining? 


An elderly priest, in white robe with cape and cloak 
of black, is coming out of a stone doorway, and holds 
up his hand to see if any rain is falling. In the other 
hand he grasps a large red umbrella. One of Frappa’s 
favorite subjects, very cleverly depicted. 

Signed at the left. Dated, 1878. 


Height, 13 inches; width, 10 inches. 


17 


LUCIEN ALPHONSE GROS St. ae 


aie | 


—————————EE———eEeEeEeEeEeEeEeEeeEeEeEeEeee—eeeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeeeeEeEereeeeeeeeeeeeeeee 


eee 


y? Hy. sl 
LEON-LUCIEN GOUPIL 


Like his elder brother, Jules, Léon-Lucien Goupil 
was a pupil of Ary Scheffer. In addition to the paint- 
ing of historical and genre subjects, he has secured 
reputation as an engraver, 


JO — Head of a Young Girl 


A pretty face in profile. The head is crowned by a 
wide brimmed black velvet hat with feather trimming. 
The bodice is of black velvet with pink satin lapels. 
The golden hair is bound with a net and headdress of 
gold and silver. A charming example. 

Signed at the upper left. 


Height, 12% inches ; width, 9% inches. 


ae J. WALKER 4 felOhe™ 


A Parisian painter of military subjects. 


JJ — French Cavalry Officers 


A young officer on a bay mount is listening to a 
trooper astride:a fine black horse as he points to a de- 
tachment of their division which has just forded a 
stream inthe valley below. Men and horses, as well as 
the landscape, are painted with almost microscopic 
finish. This picture is well composed and very agree- 
able in general effect. 

Signed at the right. Dated, 1878. 


Height, 19 inches; width, 15% inches. 


13 


i 


¥ 
Jee F. RIBOT SS. Sho 


F. Ribot has won frequent honors, including a medal 
of honor at the Exposition Universelle of 1878, in which 
year he was awarded the Legion of Honor, 


J2 — Mending his Pen 


An old schoolmaster, with a blue bonnet on his head, 
and his long black coat-tails hanging down to the floor, 
sits at his table, where he is writing, and is in the act 
of putting a point on his quill pen. The figure is a good 

' study of character, and the general effect of the picture 
is pleasing to a degree. 

Signed in initial at the left. 


Height, 17 inches; width, r2 inches. 


Ge PIERRE OUTIN @.~ éy 


This genre painter was a pupil of Lecointe and 
Cabanel and won his first medal in the Salon of 1883. 


13 — Moorish Waitress 


Coming through the doorway of a Moorish house, 
where, on the threshold, is a pair of red slippers, is a 
young girl with engaging face and charming figure. 
She carries a platter with coffee pot and cups in one 
hand and an enormous pipe inthe other. Attractive in 
color and general effect. 

Signed at the left. 


Height, 15% inches; width, 12 inches, 


19 


ig 


While a pupil of the Academy of St. Luke’s in Rome, 
Tiratelli studied sculpture and won no less than fourteen 
medals. He wasthirty-one years old when, in 1873, he 
took up painting. His genre subjects and landscapes 
have been awarded medals in Rome and Vienna. 


14 — Street Scene in Rome 


A steep, narrow passage-way, rather than a street, 
with steps between tall buildings, and a group of three 
women seated before one of the doors busy with their 
knitting. A good little piece of color. 


Signed at the right. 
Height, 13% inches; width, 7 inches, 


i fan 
we V.MARCHETTI 4.4" | 


A leader in the modern school of Italian picturesque 
realism, Marchetti early in his career established his 
studio in Paris. He has won many medals, and isa 
Chevalier of the Crown of Italy. 


15 — The Siesta 


A Turkish beauty, with diaphanous draperies and a 
gold-embroidered jacket, reclines on a couch, with a 
great cushion under her head and shoulders. On a 
ledge above her, where a curtain is drawn back, stands 
a Moorish vase with a plant. There are other acces- 
sories, and the general aspect of the picture is bril- 
liant. 


Signed at the right. 
Height, 19 inches: width, 14 inches. 


20 


AURELIO TIRATELLL Ying” bf! 


el 3 


AE 
ro JOSEPH COOMANS 9 7 ™ 


Joseph Coomans is best known by his paintings of sub- 
jects drawn from antiquity, the “ Last Days of Pompeii,” 
for example, and the “ Poet’s House in the Last Hours 
of Pompeii.” This bent of his mind was determined 
by the visit which he paid to Italy in 1857, when the 
Pompeian paintings and the mystery and beauty of the 
exhumed city made a profound impression upon him. 
Previously to this visit he had travelled in Italy, and 
even through Turkey, Greece, and the Crimea, also 
accompanying the French army into Algiers, where he 
resided several years. He was born in Brussels in 1816, 
studied with Hasselaere at Ghent, and afterwards became 
a student at the Antwerp Academy under N. de Keyser 
and Wappers. 


16 — A Greek Girl 


Head of a beautiful young woman in full face, whose 
black hair is dressed in curls and ornamented witha 
golden open-work cap. Lovely in type and expres- 
sion, 

Signed at the right. Dated, 1878. 


Height, 21 inches; width, 16 inches, 


LA 
oa ARMAND VANDER-SYP 6.0 47°” 


Modern Dutch school. 


17 — Nathalie 


Head of a young woman, with blue velvet hat orna- 
mented with a long feather and brooch, and bodice of 
dark blue and gold. 

Signed at the upper right. 


Height, 13% inches ; width, roinches, 
21 


° J. E. ANDERS _#/7S- 


A painter of the Diisseldorf school, in good repute for 
his genre subjects. 


18 — Young Woman Reading 


Seated in a great armchair, upholstered in blue, with 
heavy fringes, is a young woman ina white satin gown, 
reading in a small book bound in crimson. Her slip- 
pered feet rest upon a stool before the fireplace, and at 
her side is a small table on which are a vase of flowers 
and a silver casket. The surroundings are rich and 
luxurious, and everything in the picture is carefully and 
deftly painted. 

Signed at the left. Dated, 1878. 


Height, 20 inches; width, 15 inches. 


fide 


The genre pictures of this Brussels painter have 
secured for him a recognized position among his 
compatriots. 


oo G.INGOMAR  @. 


19 — Weary 


A little girl in blue in a room with blue furniture. 
She has thrown down her battledore and shuttlecock, 
and her skipping rope, and lies wearily in one of the 
great armchairs. A poll parrot in a red cage looks on 
from the background. 

Signed at the left. Dated, 1875. 


Height, 12 inches ; width, ro inches. 


22 


Po HJ, BURGERS 4.4% 7 


This Dutch painter, who was a pupil of Royer, re- 
ceived the cross of the Legion of Honor in 1878. 


20 — On the Bridge 


A rustic bridge over a stream, with a young mother 
in white summer costume holding up her baby so it 
may see the ducks swimming and diving in the water 
below. Background of green foliage, and tree trunks 
illuminated by sunlight. 

Signed at the right. Dated, 1875. 


Height, 15 inches ; width, 7 inches. 


fo - ne rt ee 
CAVALIERE ATTILIO SIMONETTI 


A native of Rome, Simonetti had the good fortune to 
be a pupil of Fortuny, which he turned to such good 
account that he was in time appointed a professor at 
the Naples Academy. His genre pictures have secured 
many admirers. 


21 — The Forbidden Book 


From a shelf high up in her red Japanese writing- 
desk, a pretty young woman in gown of green is tak-_ 
ing down a book that she has hidden away from prying 
eyes. Excellent painting of textures, and an attractive 
scheme of color. 

Signed at the left. Dated, Rome, 1875. 


Height, 20% inches ; width, 13% inches. 


23 


HEINRICH LASSOW 


/#? ft" 


A Munich painter of domestic genre, 


22 — Mother and Child 


A German interior, with a young mother in Charles 
Quint costume of crimson velvet, with white neck-yoke 
and. headdress, stands near a window with her babe in 
her arms. A very carefully painted and good piece of 
historical genre. 

Signed at the left. 


Height, 14 inches ; width, 9 inches. 


0 
J4 LEON Y ESCOSURA 


This painter, whose almost invariable preference was 
for garden scenes and interiors in which are disposed 
historical personages of the seventeenth and eighteenth 
centuries, was born at Oviedo in Spain, and on reaching 
Paris entered the studio of Gér6me. Among the honors 
he has received are the orders of Isabella the Catholic, 
of Charles of Spain, and of Christ of Portugal. His 


pictures hang in many of the private collections of 
America. 


23 — Presenting a Bouquet 


Two ladies seated on a divan in a corner of their 
elegantly furnished apartment are receiving the visit of 
two gentlemen. One, in a pink coat, bends forward to 
offer a fine bouquet of roses, and the other carries a jewel 
case, 

Signed at the right. Dated, 1878. 


Height, 15% inches; length, 20 inches. 
24 


: 7 
(80 HEINRICH ZUGEL Lapeer 


After a course in the Art School at Stuttgart, Ziigel 
became a pupil in Munich of Anton Braith, the cattle 
painter. The master’s influence determined his career. 
He sought his subjects chiefly in sheep, which he painted 
with close attention to detail. Then he visited Paris, 
and, studying the works of Troyon and of Rosa Bonheur, 
developed greater breadth of manner and depth of color, 
including cattle also in his subjects. In his particular 
line he is highly esteemed in Germany, 


24 — Sheep and Shepherd 


A flock of sheep coming down a hill-side roadway, 
with a shepherd boy and his dog accompanying them. 
A gray sky with a burst of sunlight. 

Signed at the left. Dated, Munich, 1880. 


Height, 1514 inches; length, 214% inches, 


me - s Sas 
2Le A. HUMBORG 


th fetet 


A Munich painter. 


25 — Testing the Vintage 


Two monks in the convent cellar are about to enjoy 
a bottle of wine. One is complacently seated, glass in 
hand, but the other, who is pulling the cork, is not so 
happy, for it does not draw easily, and he makes a 
grimace as he exerts his full strength on the handle of 
the corkscrew. 


Signed at the right. 
a Height, 16 inches ; width, 12 inches, 


25 


68F 


bow. 


JEAN CHARLES MEISSONIER 


Son and pupil of the great Ernest, Jean Charles 
Meissonier is favorably known by his eighteenth cen- 
tury scenes executed in the manner of the old Dutch 
masters. 


26 — The Game of Bowls 


A party of monks in brown habits, a priest and a 
bourgeois visitor, are enjoying a game of bowls in the 
alley near the convent. A wall capped with herbage 
on the left and a row of palm trees on the right frame 
in the scene of their pastime. Well composed, excellent 
in sunlight effect, and especially good in drawing. 

Signed at the left. Dated, 1876. 


Height, 23 inches; width, x8 inches. 


a a 


ROBERT W. VAN BOSKERCK R.c.Ue 


A pupil of Alexander Wyant, Robert W. Van Bos- 
kerck was little influenced by his master’s poetic tem- 
perament. He puts upon his canvas what he sees rather 
than what he feels ; yet his choice of subject is invari- 
ably so happy, his method of treatment so fresh and 
joyous, that his landscapes are very pleasing. 


27 — Scene in Holland 


The canal leads into the picture from the foreground 
through the fields dotted with low-roofed buildings and 
windmills. On the right, a farmhouse and haystack. 
At the left, a road bordering the canal, with a cart with 
a white horse. The sky, partly filled with white clouds, 
is good incolor and atmospheric. 


Signed at the left. 
i Height, 16 inches ; length, 26 inches, 


26 


4 
: 
. 


3k 


A native of Gothenburg, Sweden, this genre and 
landscape painter began his art career at the Stockholm 
Academy, proceeding afterwards to Paris, where he 
studied. under Palmaroli. His ‘Springtide in La 
Manche” was purchased for the Luxembourg. 


28 — On the Beach 


A young woman in an elaborate summer costume of 
white, with a black lace wrap, is seated on a chair at 
the seaside. Her greyhound looks questioningly up in 
her face, his attitude betraying his desire to be up and 
off. The sky is filled with gray clouds. 

Signed at the right. Dated, Paris, 1878. 


Height, 23 inches ; width, 19 inches. 


With a style that is spirited and a choice of subjects 
always interesting, this genre and animal painter was a 
pupil of Géréme. He was born in Paris in 1842. 


29 — In the Park 


A young French officer of Chasseurs and a lady are 
just trotting into a by-roadin the park, and turn slightly 
in their saddles to bow to a young woman who is driv- 
ing a spanking team along the highway in the middle 
distance of the picture. The landscape shows that the 
scene passes onachilly November morning. An excel- 
lent example. 

Signed at the left. Dated, 1879. 


Height, 15 inches; length, 18% inches. 


27 


AUGUST HAGBORG ya 9 Geer“ 


nee ~ LEON RICHET Lig 


Richet was born at Solesmes and studied successively 
under Diaz, Lefebvre, and Boulanger. He received 
honorable mention at the Salon of 1855, 


30 — In the Woods 


A young woman and a little girl holding on to her 
arm are advancing toward the spectator in a woodland 
path. Their baskets and aprons are filled with wild 
flowers. Like the work of Diaz in general treatment. 
Agreeable in color and composition. 

Signed at the left. Dated, 1879. 


Height, 24 inches; width, 17 inches. 


A fot tl 


* *» ~*~ 
The influence of his travels in the East, in Algeria, 


and Holland can be traced in the landscapes of this 
painter, who, beginning his career as a pupil under 
Boiselier, subsequently studied with Drélling and Horace 
Vernet. 


jg EMILE LAMBINET 


3f — On the Seine 


A scene on the River Seine on a summer’s day, with a 
man poling a punt to the shore. On the right are 
some well-drawn tall trees, and on the left and in the 
distance the roofs of a hamlet and hills. The sky is 
filled with white clouds, save for a streak of blue in the 
middle portion, A representative example. 

Signed at the left. Dated, 1877. 


Height, 18 inches; length, 29 inches. 
28 


pe LUIS JIMENEZ BC Cote 

In 1875 Jimenez joined the group of Spanish painters 

in ‘Paris. His native place was Seville, where he was 
born in 1845, and his master was Eduardo Ceno. 


32 — Musical Critics 


The scene is in the audience chamber of a Spanish 
Academy of Music. The judges are sitting in their 
stalls or about a table at the left, and the young man 
who has come to play before them stands at the right 
in the large apartment before a music stand, playing 
the violin. The costumes are of the time of Louis XVI. 
The composition is very effective, and the color scheme, 
with notes of scarlet, crimson, light blue, and ivory 
white, in contrast to the sombre carved woodwork and 
tapestries on the walls, is extremely pleasing. 


Signed at the right. 
Height, 1834 inches ; length, 28 inches. 


ffl 


g 
o* PAUL ALEXANDRE PROTAIS 


A Parisian painter of military subjects. 


33 — Troops Marching in a Rainstorm 


A detachment of French infantry marching along a 
highway inadriving rain. The officers have the hoods 
of their cloaks turned up over their heads, and the soldiers 
are plodding along in step through the mud. In the 
distance are seen artillery wagons on another road and 
a line of trees almost blotted out by the sheets of rain. 

Signed at the left. 


Height, 18 inches; length, 25 inches, 


29 


27% Law 


ANTONIO CASANOVA Y ESTORACH 


Scenes of court life in the seventeenth century repre- 
sent Casanova’s most important works, though he is 
probably more widely known by his pleasant satires on 
the priesthood, full of suggestiveness and humor. He 
was born at Tortosa, Spain, in 1847. Many years of 
poverty and struggle, during which he studied at the 
Barcelona Academy under Lorenzale and later with 
Federico Madrazo at Madrid, were terminated by his 
winning the Prix de Rome. Four years afterward he 
visited Paris and exhibited a picture. It was well re- 
ceived, as was a second one, so that in 1877 he settled 
there, producing in successive years, ‘‘ Van Dyck at the 
Court of Charles,” ‘‘ Marriage of a Prince,” and “ Héros 
de la Féte.” The good impression which they made 
was confirmed by his large canvas, ‘‘ Sword and Gown,” 
exhibited in 1882. 


34 — Waiting 


A tall blond young woman, in Empire gown of fig- 
ured blue material, stands with her right hand resting 
on the back of a cushioned armchair, her head turned 
to look into the adjoining room, from whence she seems 
to expect a visitor to arrive. A representative work, 
with a pretty scheme of color. 

Signed at the left. Dated, Paris, 1879. 


Height, 18 inches ; width, 15 inches. 


30 


jpse 


FELIX ZIEM 


In the earlier stages of his career, Ziem painted many 
fine pictures of French, Dutch, and Turkish scenery ; 
but it was in Venice that he discovered the true bent 
of his genius, While Rico has painted Venice in the 
broad glare of sunlight, Ziem has translated into paint 
the sun-risings and evening light upon the lagoons with 


- a wealth of color and splendor of imagination that have 


won him world-wide reputation. A native of Beaune, 
where he was born in 1821, he passed through the art 
school at Dijon, and began to develop his power by 
wanderings in the south of France. A Dutch scene 
secured him his first medal in the Salon of 1851, and 
views of the Golden Horn and of the Piazza of St. Mark 
in 1857 were rewarded with the Legion of Honor. He 
was made an officer of the Legion in 1878. 


35 — View on Grand Canal, Venice 


Gondolas and sailboats in the water, which fills the 


foreground. On the right, some buildings, with walls - 


of pink and gray, and steps leading down to the canal. 
In the middle distance, the quays with the Campanile, 
St. Mark’s, and the Doges’ Palace. The sky is delicate 
blue, with misty pale gray at the horizon. A character- 
istic example of Ziem, with a very delicate scheme of 
color. 


Signed at the right. 
Height, 21 inches ; length, 30 inches, 


31 


ote 


JFe 


ALFRED VON WIERUSZ KOWALSKI 


A pupil in the Academy of Warsaw, his native city, 
then in the academies of Dresden and Munich, and 
finally studying under Alexander Wagner and Joseph 
Brandt, Kowalski is favorably known by his historical 
and genre subjects, which have gained several medals. 
His ‘“‘ Hunting” at the Morgan sale in New York was 


purchased for $2,500. ak 
ve Le pre 
36 — Scene in Poland | 


On a rainy day before the freezing weather has set in 
a conveyance, with the driver on the front seat and two 
travellers well wrapped up in the back, is plodding © 
over the road almost swamped in water. There are 
three horses hitched abreast, and other teams are seen 
following in the background. Beyond lies a town, with 
a windmill on a hillock at the left. A gray sky and 
bare trees indicate the cheerlessness of the season. 


Signed at the right. 
Height, 171% inches; length, 29 inches. 


Charles Moreau was born at Chateau-Renard and 
works in Paris, following the line of domestic genre. 


37 — Waiting for His Luncheon 


The good grandmother, sitting by the table, is spread- 
ing jam on a generous Slice of bread, and a little boy, 
standing before her with a basket on his arm, holds out 
his hand in readiness to take it. A simply painted 
piece of genre with effective notes of blue. 

Signed at the left. 

Height, 17 inches ; length, 21 inches, 
32 


CHARLES MOREAU yi Beaacnld 


Leng ee 
/b0 RUDOLF ERNST £2 °7** 


This German painter has sought his happiest subjects 
in the Orient, rendering them with considerable richness 
of color and with a skilful treatment of textures and 
architectural details, by 


38 — The Letter 


A young girl in a dress of black velvet, with gold 
brocade sleeves and front, is sitting with a letter in her 
hands, looking downward in thought. Back of her isa 
painted-glass window. A soberly rich piece of color. 

Signed at the right. Dated, 1880. 


Height, 30 inches ; width, 23 inches. 


280 ME Meenthee 
VICTOR BACHEREAU-REVERCHON 


Favorably known as a painter of animals, Bachereau 
has also obtained repute for his treatment of historical 
genre, which he has represented with fidelity to the 
characteristics of the period and with much spirit and 
imagination. He was born in 1843. 


% 


39 — Soldiers of Henry II in One of 
the Halls of the Louvre 


Some of the soldiers are in a group at the left, clean- 
ing their armor. Others are at the right, throwing dice 
at atable. Two noblemen are before the fire in the 
great chimney in the background. The large room is 
lighted by a window on the right, near which sits a min- 
strel playing the lute. An authentic picture of life and 
manners, well composed and agreeable in color. 

Signed at the right. 


Height, 22 inches; length, 28 inches. 
a3 


j 


Boe 


75° 


pt 


A pupil of Piloty and of the Munich Academy, of 
which he afterwards became a professor, Griitzner 
showed a preference for humorous genre, and at once 
attained a great success with his scenes from Shake- 
speare. Later he occupied himself with the amusing 
side of monastic life and the hunting-field. 


EDUARD GRUTZNER 4 


40 — Painting In 


One of two companion pictures. An artist monk 
perched on a stool on a rude scaffolding is absorbed in 
his work of painting the figure of a saint on the wall in 


avaulted chamber. His paint-pots, other materials and © 


tools, and his cartoons are strewn abouthim. Excellent 
in character and able in execution. 
Signed at the left. Dated, 1877. 
Height, 24 inches; width, 19 inches, 


7 ge 
4{ — Painting Out LHS ch 7 4 


Companion to the preceding. 

An old monk with a long-handled brush and pail of 
whitewash has already given a preliminary rub or two 
with his instrument of effacement on a large fresco pic- 
ture in the convent, and stopsto take a pinch of snuff 
before continuing the work of destruction. Agreeable 
in tone, like the companion picture, and ably executed. 

Signed at the right. Dated, 1877. 


Height, 24 inches; width, 19 inches. 


34 


i a | JULES WORMS ye fag’, Gf tye 


Born in Paris in 1837, of a Jewish family of shop- 
keepers, Jules Worms was made an errand boy to a 
draughtsman and fruit-seller, under whom, at odd 
hours, he picked up the rudiments of his art. Eman- 
cipated from the shop, he commenced to earn his living 
as a designer for L’///ustration and other periodicals, 
studying and painting in his leisure, chiefly under 
Lafosse; and in 1859 he made his début at the Salon 
with success. Though a traveller in many countries, 
the majority of his pictures show his special fondness 
for Spain. With Vibert and others he was one of the 
founders of the French Water Color Society, and his 
own pictures in water color are highly esteemed by 
connoisseurs, 


42 — Spanish Dancer 


A numerous company of men and women, crowded 
| together in picturesque groups in the shady courtyard, 
are playing guitars and tambourines and keeping time 
by clapping hands for a beautiful dancer who, on a 
table in the right centre of the composition, dances the 
steps of the captivating ‘‘El Vito.” The dancer is 
dressed in light blue, short skirt, and low-cut bodice, 
and forms the predominant note in the color scheme as 
well as the central attraction in the happy pastime. 
This is a rarely fine example of Worms, and in subject 
is extremely attractive. 


Signed at the right. 
Height, 22% inches; length, 31 inches. 


35 


jor WILLIAM ADOLPHE BOUGUEREAU 


Though known to art-lovers as the painter of children 
and dainty girlhood, Bouguereau is a man of iron reso- 
lution and indomitable will. While a store-keeper’s 
assistant in his native city of La Rochelle, he spared 
two hours a day to attend the art-school in Bordeaux, ~* 
and with such success that in 1842 he won the prize of 
the year. This decided him to bean artist ; and, throw- 
ing up his employment, he went to live with his uncle, 
a priest in Saintonge, where he painted portraits of 
the townsfolk for a few francs. Having saved a little 
capital of nine hundred francs, he proceeded to Paris, 
entered the studio of Picot, and later was admitted to 
the Ecole des Beaux-Arts. He lived by incredible shifts, 
finally receiving some small help from his family, until 
in 1850, at the age of twenty-five, he won the Prix de 
Rome. This was the turning-point of his fortunes. 
After four years’ stay in that city he returned to Paris, 
and at once secured recognition. Among other works, 
important commissions for mural paintings in public 
buildings were intrusted to him, as, for example, the 
decoration of the foyer of the theatre at Bordeaux, in 
which he executed Apollo andthe Muses. In the face of 
the reaction against classicalism he has remained a classi- 
cist, and his technical knowledge is so profound, his skill 
so masterly, that he has been able to survive the onrush 
of the naturalistic tide. With inflexible determination 
he has stood his ground in the midst of the critical battle 
that has been fought over him, and has established his 
reputation for being one of the greatest draughtsmen of 
the nude that ever lived. 


43 — Timidity pl dw 


A picture of a sweet-faced little child, nude, seated 
with knees drawn up:and -hands folded over its breast in 
a corner, where a blue velvet curtain lined with white 
satin affords acosy resting place. The faceand shoulders 
are in shadow. 

Signed at the right centre. Dated, 1878. 


Height, 25 inches; width, 18 inches. 
36 


AG hie af aT 
JEAN FRANCOIS RAFFAELLI 


Every one acquainted with the art of Jean Francois 
Raffaélli knows that up to a certain time it was clouded 
with pessimism and has since become happy. The 
painter-himself attributes the change to the influence 
of his first visit to America some six years ago. A 
Parisian first and always, the outset of his life was 
embittered by family misfortunes, and his entrance into 
art by the blight which the terrible results of the war 
of 1870-71 cast upon the young and impressionable 
men. Consequently he painted with bitterness, and his 
art was sombre, violent, hopeless. Then came recogni- 
tion, moderate affluence, and finally his first visit to 
America. There he discovered, as he says, ‘‘an unend- 
ing hope for all men who have confidence in their own 
powers.” Raffaélli had no need to distrust his own, and 
returning to Paris, he threw himself with renewed ardor 
into subjects which have ‘‘beauty, grace, elegance, 
poetry, tenderness, and the sweetness which could not 
flourish during many years of hardship.” Whether in 
his earlier or his later mood, he stands unrivalled in his 
own individual manner of impressionism, seen most 
characteristically in his inimitable studies of the streets 
of Paris; so vivid in their actuality, artistic in treat- 
ment, and above all individual. One of them gained the 
-silver medal at the Pittsburg International Exhibition 
last November. The honors paid to him in Europe are 
numerous, and from many countries. 


44 — In a Moorish Garden 


Five or six Oriental women, clad in rich stuffs, are 
seated on rugs laid on the grass in a garden walled in 
with tiles of blue and white. Some black female slaves 
are in attendance. Three of them are. making music 
to while away the hours; a fourth, who is a bird- 
charmer, exhibits her talent with her little feathered pets; 
and a fifth serves the ladies with coffee. In the distance, 
the walls and roofs of Algiers and the blue sea. A very 
colorful picture, carefully painted, very interesting in 
itself and as an early example of the work of Raffaélli. 

Signed at the left. Dated, 1877. Salon number, 1754. 


Height, 23% inches ; length, 36 inches. 
37 


I 
¢ 


ope 


Though a Spaniard by birth, Rico has worked out for 
himself an almost entirely original development. A 
cavalry officer gave him his first lessons in drawing, 
from whose hands he passed to the Madrid Academy, 
maintaining himself meanwhile by drawing and engrav- 
ing on wood in his leisure hours, On the small savings 
of his labors he would wander off on foot during the 
summer, studying nature and living among the gypsies 
and herdsmen. In 1862 his unremitting industry 
secured its result. He won the first Prix de Rome 
awarded for landscape, and being allowed the choice 
between a sojourn in Paris or in Rome, chose Paris. 
Here his compatriot Zamacois took him in hand, and 
Meissonier and Daubigny gave him help. His brilliant 
and personal style soon secured him popularity and 
success. Even in his prosperity he has not lost his 
simple tastes, and it has been remarked of him that with 
a guitar and a bundle of cigarettes he could make a 
journey round the world. 


45 — Fleet in Venice 


Three steamers are drawn up in perspective line in 
the centre of the composition. On the right are build- 
ings fronting the water, and gondolas tied up at the 
landing places. The effect is in sunlight, with a blue 
sky. A characteristic example. 

Signed at the right. 

Height, 16% inches; length, 27 inches. 


38 


MARTIN RICO PF 


2 ee" poe 
Sd flowin i 
Joa? Co -* 
- JEHAN GEORGES VIBERT 


A noted wit, brilliant with pen as well as brush, Vibert 
is one of the strongest personalities among the artists 
of Paris. Picot and Barrias were his masters, but he 
owes less to them than to his own active intelligence, 
which directed him to a métier of his own. His good- 
humored satires on the hypocrisy and self-indulgence 

- of monkish and ecclesiastical life did much toward 
advancing his popularity. He was decorated with the 
cross of the Legion of Honor at the age of thirty. But 
he was not content with triumphs in oil alone ; spurred 
on by the exploits of Fortuny in water color, he began in 
it a series of experiments that have placed him among 
the first aquarellists of the world. 


46 — A Cardinal Composing a Letter 


The young cardinal standing at his desk in his study ‘ 
has a difficult letter or state paper to compose, and closes 
his eyes in thought as he touches his forehead with the 
shaft of his quill pen. Torn and crumpled pieces of 
paper on the floor testify to several unsatisfactory efforts 
to accomplish his task, and ancient volumes piled 
up on the chair, with marks between the leaves, show 
he has been consulting the authorities on knotty points. 
On the wall above his head hangs a richly framed 
portrait of a gentleman in scarlet coat, who is probably 
one of the cardinal’s ancestors. A very superior ex- 
ample, in Vibert’s most complete manner. 


Signed at the left. 
Height, 27 inches; width, 16 inches. 


39 


, 0 


Hl? GASTON CLARIS 


A pupil of Meissonier and E. Giraud, Claris has ex- 
hibited successfully in the Salon pictures more or less 
related to the humorous or pleasant incidents of military 
life, 


47 — Pendant le Repos—Grandes Ma- 


noetivres 


A troop of cuirassiers fills the narrow village street 
in front of a tavern on the left, where a group of officers, 
about a table outside the door, are studying a map and 
discussing plans of campaign. A scene such as may be 
seen at any time in France when the ‘‘ grandes manceu- 
vres” are taking place, and in this case a composition 
pleasantly depicted. 

Signed at the left. Dated, 1879. 


Height, 23 inches; length, 31 inches. 


Y go alr” 


FREDERIK HENDRIK KAEMMERER 


Many collections in America possess examples of the 
work of this landscape and genre painter, who was a 
pupil of Géréme, and gained his first Salon success in 


1874. 


48 — Going to Church 


At the door of a fine mansion a hand-sleigh is ready 
for the beautiful lady who, covered with a gray satin, 
fur-lined cloak, descends the steps, with a footman be- 
hind her carrying her muff and prayer-book. The 
lackey who pushes the sleigh stands ready for the 
start, hat in hand. One of the most charming of all of 
Kaemmerer’s works. 

Signed at the left. 


Height, 31 inches; width, 21 inches. 
40 


I 
a7” CHARLES BOMBLED ¢ /¢"”" te 


4 

Born at Amsterdam and a pupil of Schmidt, Chawles 
Bombléd is best known by his military subjects, espe-— 
cially of the French army. 


49 — Visiting the Outposts 


A party of French cuirassiers wearing long gray 
riding-cloaks, with their horses in the foreground. At 
the right, in the middle distance, a single cavalryman on 
sentinel duty. Snow covers the ground and the cloudy 
sky shows the red glow of sunset at the horizon. 

Signed at the right. Salon number, 270, 


Height, 25 inches; length, 31 inches. 


a DON VICENTE PALMAROLI 


There is something of Fortuny, and not a little of 
Meissonier, in Palmaroli’s style. He was a pupil of 
Federico Madrazo and of the San Fernando Academy, 
continuing his studies in Rome. Then he became 
director of the Spanish Academy, and has since won 
many medals, both in Paris and in his native city of 
Madrid. 


50 — The Day After the Début 


A beautiful actress in a robe of soft white material is | 
seated on a divan in her morning room, and has been | 
reading in the /zgaro and other journals the criticisms 
of her performance the night before. A heap of bouquets 
with their white paper envelopes, a beribboned wreath, 
a palm and other floral testimonials, are in evidence as 
souvenirs of what was probably a successful appearance. 
Skilfully painted and charming in color, 

Signed at the right. 

Height, 29 inches; width, 24 inches, 


41 


Mlisgeccear; 0 


co Le 


JULES DUPRE 


It is one of the marvels of biography that a little boy 
of Nantes, taught the knack of porcelain decoration, 
should become without any aid from teachers a master 
of landscape at the age of eighteen, and live to be rec- 
ognized as one of the founders of the modern school of 
French landscapists. The contributing causes were 
his constant and unwearying love and study of nature; 
later, his study of the masterpieces of the Louvre, and, 
finally, his meeting with Rousseau and their life-long 
friendship. Both were attracted by the grandeur, mas- 
siveness, and harmonious color of nature; but, while 
Rousseau revelled in its sunshine and wealth of color, 
Dupré was the poet of its sterner moods. Whether 
painting the ocean or the woods of Fontainebleau, it 
was the sombre view that stimulated his imagination. 
Yet he was of an even disposition, and when the little 
band of Barbizon painters had been recognized by the 
world, and fortune and honors came his way, he bore 
his successes with the same equanimity that had marked 
his conduct in the face of early struggles and reverses. 


51 — Landscape and Sheep 


A tall oak fills the right of the composition, and at 
the left there is a stretch of meadow and plain framed 
in by low-lying hills. In the foreground a flock of 
sheep advances along a grass-grown lane, the shepherd 
bringing up the rear. The sky is composed of turbu- 
lent white clouds, with a few patches of deep blue, 
striking in general effect. 


Signed at the right. 
Height, 35% inches; width, 28 inches. 


42 


CHARLES EMILE JACQUE 


His early training as an engraver of maps may have 
given Charles Emile Jacque his accuracy of drawing, as 
his love of poultry, pigs, and sheep and of rural scenes 
was certainly the reason of his intimate knowledge of 
these subjects ; but the poetic feeling which made him 
a worthy compeer of the rest of the Barbizon-Fontaine- 
bleau school was a gift more inspired. His skill as an 
etcher also contributed to his power in composition, 
in texture, and the massing of light and shade; for his 
etchings won him reputation before his paintings, and to- 
day his fame rests securely on both mediums, Though 
born in 1830, it was not until 1861 that his painting first 
won recognition at the Salon, butafter that his popularity 
grew steadily until, in the later part of his career, it was 
almost phenomenal. Yet he never yielded one iota of 
his art ideals to pamper this popularity ; his pictures, 
though homely in subject, are never prosaic—his treat- 
ment is always guided by a fine artistic feeling, Their 
popularity, therefore, besides being a triumph for the 
painter, has been a tribute to the judgment and taste 
of his patrons. He died in 1893, wealthy and honored, 
and the sale of his studio collection in Paris produced 
the noteworthy return of 600,000 francs, 


52 — Sheepfold 


In the sombre interior a shepherd appears in the 
background with a bundle of hay, In the foreground 
are two sheep and some chickens. A square pillar, on 
which the light falls, supports the roof, and with its 
warm white tone makes a note which balances the com- 
position. A good example, with rich color quality. 

Signed at the right. 


Height, 24 inches; width, 20% inches. 


43 


is EMIL HUNTEN  ¥g é. Ge 


Though born in Paris, and for a while a pupil of 
Flandrin, Emil Hiinten settled in Diisseldorf. The 
beginning of this transition was, no doubt, his study 
under Horace Vernet, from whom he caught the con- 
tagion of better subjects. After a period of work at 
Antwerp under Wappers and Dyckman, the fame of 
Camphausen drew him to Diisseldorf, and the campaign 
into Schleswig in 1864 gave him the chance to accom- 
pany his master into the field. A few years later he 
visited the battle-fields of the Franco-German War. 


53 — French Prisoners in the Rear 


A number of French prisoners in various uniforms 
are grouped on a bank at the right, while two Russians 
—one mounted—are on the road at the left. In the dis- 
tance, a burning village. : 

Signed at the right. Dated, 1877. 


Height, 20 inches; length, 26 inches. 


‘ 


3° PAUL LEYENDECKER We Sod 


Character studies in eighteenth-century costumes are 
favorite subjects of this pupil of Géréme. 


54 — Moliere Reading before Ninon 
d’Enclos 


Moliére, in black velvet, stands at the right of the 
composition, manuscript in hand, declaiming his verses, 
while his audience, composed of la belle Ninon, a lady 
companion, and half a score of gentlemen, are grouped 
at the left in a salon hung with tapestries. Carefully 
painted and exact in historical detail. 

Signed at the left. Dated, Paris, 1874. 

Height, 23 inches ; length, 31 inches. 


44 


Jre _ LOUIS EMILE ADAN <<. ¢-#rer— 


A pupil of Picot and Cabanel, Adan has consistently 
pursued his early choice of historical and genre subjects. 
He was born in Paris in 1839. 


55 — L’Eté de St. Martin 


On a white garden-bench, in the shade of the trees, 
a pretty young woman is seated reading a book, while 
an elderly man, in Louis XVI. costume, sitting at the 
other end of the settee, strokes his chin as he looks at 
her admiringly. Itis Indian summer for him, while the 
young girl as certainly symbolizes the smiling month of 
May. Excellent in color notes, and very cleverly 
painted, this is a work of very attractive aspect. 


Signed at the right. 
Height, 23 inches ; width, 37% inches. 


a 
v Ql. Fleth 
Joo ALEXANDRE LOUIS LELOIR 


A son and pupil of Auguste Leloir, Louis Leloir 
attained in his genre pictures considerable distinction. 
They are ingenious in composition, with excellent color, 
and, in his later style, not unlike Meissonier’s. He 
won many rewards, including the Legion of Honor, and 
is well represented in this country. 


56 — At the Rendezvous 


A voluptuous young woman in a Turkish jacket, and 
her skirt drapery composed of clinging figured stuffs, is 
leaning gracefully against a balustrade with roses climb- 
ing the pillars. She holds a flower in one hand and 
waits with confident assurance the coming of her lover. 
A well-drawn figure, depicted in an agreeable scheme of 
color. 

Signed at the right. Dated, 1877. 

Height, 30 inches; width, 19% inches. 


45 


owe" 


LO 


GEORGE H. BOUGHTON, N.A,RA. | 


Born in England in 1834, Boughton three years 
later was brought to this country by his parents, who 
settled in Albany, N. Y., where, as a boy, he began to 
instruct himself in art. He opened his studio there in 
1850, the old American Art Union being almost his 
first patron. It was on the proceeds of its patronage 
that he went to Europe to study, returning several years 
later and making his first appearance at the National 
Academy Exhibition in 1858, with ‘“‘ A Winter Twilight.” 
The following year he returned to Europe, residing first 
in Paris, and then finally settling down in London. He 
has painted a wide range of subjects, and gained rep- 
utation for landscapes as well as his better known 
studies of the Knickerbocker, Puritan, and Huguenot 
periods, 


57 — English Landscape 


A pastoral scene in England, with a stream crossing 
the foreground. On the path which borders it are two 
milkmaids, One trudges along at the left with her two 
well-filled pails, but her companion has stopped to talk 
to ayoung farmer. In the middle distance, a red-roofed 
farm-house and clumps of trees. A graysky, with warm. 
evening light at the horizon. 

Signed at the right. Dated, 1877. 


Height, 16 inches; length, 36 inches. 


46 


oe : 
eis pen HEE — 


‘ 


RAYMUNDO DE MADRAZO 


A Spaniard living in Paris, Madrazo has been 
claimed by both France and Spain, and yet contrived 
to be independently himself. He was born in Rome in 
1841, and baptized in St. Peter’s. His father, Federico, 
the head of the Madrid Academy, was his first in- 
structor; and when he died in 1859, the son proceeded 
to Paris to become a student of the Ecole des Beaux- 
Arts, and later to place himself under Léon Cogniet. 
His first appearance at any exhibition was in the Salon 
of 1878, when his work received a first-class medal and 
the ribbon of the Legion of Honor, Since then “he 
has permanently impressed his students, variously ut- 
tered his aims as a modernist of power, and charmingly 
invested his life in his friends,” 


58 — The Memorandum 


A three-quarters-length figure of a lady in modern 
costume of dark red, with a white mousseline neck 
scarf. She wears a hat of the same material as the 
dress, trimmed with a pheasant’s wing. In her gloved 
hands she holds a pocketbook and a tiny lead _ pencil 
with which she is about to jot down an address or other 
memorandum. The face is attractive in type and ex- 
pression, the figure graceful, and the costume smart. 
An excellent example in every way. 

Signed at the upper right. 


Height, 31% inches ; width, 21 inches, 


47 


J 


425 


for 


spe pil 4 


JULES ADOLPH GOUPIL 


Born in Paris in 1839, Goupil became a pupil of Ary 
Scheffer. He has painted portraits, but is best known 
by elegant genre pieces, slight in subject but carefully _ 
drawn and bright in color. 


59 — The Interesting Book 


A lovely girl with dark hair, clad in a Directory 
costume of wine-colored satin with broad silver-gray 
sash, is in profile to the spectator, seated ata table read- 
ing a book. The figure is very charming in pose and 
expression, and all the accessories are admirably painted. 
A splendid example. 


Signed at the left. 
Height, 25 inches; width, 17% inches. 


OSWALD ACHENBACH / yn hed { 


Born at Diisseldorf in 1827, Oswald Achenbach 
studied art under his brother Andreas. He gained 
medals in Paris at the Salons of 1859, ’61, and 63, and 
in the last year was elected to the Legion of Honor, 


60 — On the Quay 


The scene is in an Italian seaport, with a ruined castle 
on a point of land in the middle distance. In the fore- 
ground on the landing is a group of fishermen, women, 
children, and a city youth, while nearby, standing on a 
rock, is a holiday-maker in the person of an elderly man 
whose eccentric costume consists of white trousers, a 
pink shirt, and a black top hat. He has stopped fishing 
to look at the group of people, who are evidently dis- 
cussing some question that, for the moment, interests 
them deeply. 

Signed at the right. Dated, 1878. 

Height, 26 inches; length, 39 inches. 


48 


4 CHARLES EDOUARD DELORT ‘of 
LS AL Ilo 


This genre painter, born at Nimes in 1814, became a 
pupil of Gleyre and Géréme. His first medal was won 
at the Salon of 1875. 


61 — Arrival of the Cardinal 


The courtyard of a Spanish inn. The Cardinal, ac- 
companied by gentlemen, almoners, and servants, is 
coming forward toward the stone stairway at the right, 
and the host, holding his saucepan and white cap be- 
hind his back, bows low in obsequious greeting. The 
red robes of the Cardinal form the central note in the 
color scheme, with which are effectively contrasted the 
greens, blues, browns, and purples of the costumes of 
the cavaliers and the trappings of the sumpter-mules, 
A remarkable piece of historical genre by a celebrated 
artist. 


Signed at the right. 
Height, 24 inches; length, 39 inches. 


450 PAUL VIRY ad yee | 


Delicacy of tone and elaboration of detail characterize 
the genre subjects of Paul Viry, who was a pupil of Picot. 


62 — The Duet 


A man in an elegant Louis XIII. costume of gray and 
white satin, with long buff leather boots, is sitting on a 
bench tuning a lute, while a lady opposite him gives him 
the pitch with a tuning-fork. A greyhound lies at their 
feet. The background is composed of the walls and 
towers of a great chateau, with a tree and some flower- 
ing vines. Very highly finished, well drawn, and quiet 
in color. From the Salon of 1876, 

Signed at the right. Dated, 1876. 

Height, 28% inches; width, 24 inches. 


49 


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q ic JEAN LEON GEROME 


Géréme was twenty-three years old when his picture 
« The Fighting Cocks” was skied in the Salon of 1847. 
But it was discovered by Théophile Gautier, who wrote, 
the following day, in La Presse: ‘Let us mark with 
white this lucky year, for unto us a new painter is born. 
He is called Géréme. I tell you his name to-day, and 
to-morrow it will be celebrated.” Gautier was right. 
The picture gained for the young artist his first medal, 
and since that day every official honor that France can 
bestow upon a painter has fallen to his brush. He was 
the pupil of Delaroche, whom he followed to Rome half 
acentury ago. After visiting Russia and Egypt, he pro- 
duced his popular canvas ‘‘ Duel after a Masked Ball,” 
followed by the ‘‘ Death of Cesar,” and in 1855 by that 
powerful work of history and allegory, ‘‘ Le Siécle d’Au- 
guste,” which secured him the “red ribbon.” Soon 
afterward he paid a second visit to Egypt, from which 
he returned with increased precision of observation and 
a fuller sense of color. At the close of the Salon of 
1874 he was awarded the grand medal, thus reaching 
the zenith of a career that is still in the ascendant. 


63 — The Mosque of Borurssa 


The mosque, with its blue dome and minarets, fills the 
right half of the composition. The view at the left 
overlooks the roofs of the city and the distant hills be- 
yond. Over all, a high sky of blue with some straggling 
white clouds. The foreground is occupied by the 
graveyard with ruined headstones, and ascore of the wild 
dogs that infest the city are seen stretched on the grass 
asleep. At the left three veiled women are seated on a 
carpet smoking hookahs, and a eunuch guardian in 
black, with a red and yellow headdress, stands near 
them. 

Signed at the right. 


Height, 24% inches; length, 39 inches, 


50 


Michael Lieb by actual parentage, Mihaly de Munkacsy 
in the name by which the world knows him, conferred 
honor upon the little town of Munkacs in Hungary, 
where he was born in 1846. Six years were served in 
apprenticeship to a carpenter before he was able to 
devote himself to art, which he commenced to study 
with a portrait painter, Gyula. Then he became a pupil 
of the Vienna Academy, passing on to Munich, where, 
under Franz Adam, he made rapid progress and won 
three first prizes. Thence, in 1867, he went to Disseldorf, 
and, following the advice of Knaus and Vautier, gave 
himself up to genre subjects. In 1869 his reputation 
was at once established by the appearance of ‘‘ The 
Last Day of a Condemned Man”; one of the scenes in 
the popular life of his native country. His moveto Paris 
in 1872 proved a turning-point in his career. He began 
to choose his subjects from the life around him, and 
then in 1878, with his ‘‘ Milton Dictating Paradise Lost” 
(now in the Lenox Gallery, New York), entered upon a 
fresh field and a different method of color. Among the 
honors paid him were a medalof honor at the Exposition 
Universelle, 1878 ; Officer of the Legion of Honor the 
same year ; the crossof the Order of Francis Joseph and 
the title of an Austrian Baron in 1882. The pathetic 

circumstances of his end are within immediate memory. 


64 — Visit to the Baby 


A richly furnished interior, with the young mother 
in light blue peignoir seated in large arm-chair at the 
right of the composition. On the left, a group composed 
of two ladies and the nurse, who holds up the baby for 
admiring inspection. The pink and gray gowns of the 
ladies, the nurse’s apron, the salmon-colored table cover, 
and the mother’s robe of blue form the light notes in 
the color scheme. The tapestries on the walls, the 
furniture, screen, and rugs, are warmly tinted and make 
up a setting for the figures of great luxury. A very 
important example. 

Signed at the right. Dated, 1879. 

Height, 43 inches; length, 59 inches, 


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‘ALFRED WAHLBERG /f, cL 


Alfred Wahlberg’s evolution was from the Stockholm 


Academy, by way of Diisseldorf, to Paris, where he en- 
joyed the assistance of Corot and Daubigny. His land- 
scapes have won him the highest honors, both in the 
city of his adoption and in his native country. 


65 — Sunset after the Storm 


A river with its banks, on the right, fills the fore- 
ground, Inthe middle distance, a hill and clumps of 
trees. Over all a strong sky, with troubled clouds, and 
the sun sinking behind the hill in a rich glow of color 
after the storm. A fine representative example. 

Signed at the right, Dated, 1878, 


Height, 24 inches; length, 38 inches. 


Few American painters can show a longer list of for- 
eign honors than Edwin Lord Weeks. Boston produced 
him, but he is a citizen of the world and an indefatigable 
traveller : noted particularly for his pictures of Eastern 
life, painted in Cairo, Jerusalem, Damascus, Tangiers, 
or India. 


66 — The Gate of a Fondak 


A street scene in Cairo, with elaborately ornamented 
Moorish architecture in sunlight effect. In the fore- 
ground, a negro with two camels. At the right, a 
fountain with a water-carrier and a dog. Other figures 
and horses at the shop on the left and in the background. 

Signed at the left, Dated, 1879. 


Height, 27 inches; length, 35% inches. 
52 


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L.G- be 
EDWIN LORD WEEKS 


This Roman painter is known by dainty little genre 
subjects, in which light.and air are well depicted. 


67 — The New Robe 


A tall lady with dark hair stands in a finely furnished 
boudoir, while a friend as elegantly costumed as herself 
kneels on the floor beside her and arranges the folds of 
her yellow satin skirt. Brilliant in color and clever in 
execution, 

Signed at the left. Dated, 1875. 


Height, 30 inches; width, 18% inches. 


; tasers 


J7@ ADOLPHE ALEXANDRE LESREL 


ee 


A pupil of Géréme, Lesrel has painted historical 
subjects, and been successful also in portraiture, but is 
chiefly popular for his genre pictures of the Renaissance 
period, with rich costumes and accessories, 


68 — Baptism of the Prince of Condé 


EFT OPO CL I eg me 


The scene shows the banqueting festivities at their 
height, the parent prince and princess seated at the 
table under a canopy of gold and crimson in the middle 
of the composition. At the right a young girl, in a 
peasant’s costume of the richest possible description, 
holds the infant prince, while the godmother and little 
brother and sister are standing beside her. On the left, 
a company of musicians. Cardinal Richelieu is seen in 
the background leaning over to speak to the princess’ 
mother. Painted with careful attention to detail and 
very rich in general aspect. 

Signed at the left. 


FOS OLLIE ILI OO, LARS 


SIGN ea PES Ee 


| i 


Height, 33 inches; length, 46 inches. 
53 


(os _ HANS MAKART LET 


For a few months Hans Makart was a pupil at the 
Vienna Academy under Ruben, but, dissatisfied with 
the prevailing methods, set out on foot to return to 
Salzburg, his native city. Through the help of the 
Prince-Archbishop Maximilian von Tarnoczy he pro- 
ceeded to Munich; first studying under his relative, 
the landscape painter Schiffmann, and later at the 
Academy with Piloty. After six years spent in visiting 
Paris, Italy, Rome, and Vienna, he settled down to 
historical painting in the last-named city by invitation 
of the Emperor Francis Joseph, who caused a sump- 
tuous studio to be prepared for him and in 1876 conferred 
upon him the title of Professor. The honors which he 

_ received both from Vienna and Paris were numerous, 
officer of the Legion of Honor being awarded in 1884, 
the year of his death, 


69 — The Unwelcome Salutation 


Descending the steps of a chateau is a young woman 
in richly embroidered costume, who turns her head to 
look indifferently at a young man in crimson who re- 
moves his hat in salutation as she passes. A roll of 
papers in his hand indicates that he is probably a poet. 
At any rate, the lady seems dete Very striking 
and rich in color. 


Signed at the left. 
Height, 4134 inches ; width, 30% inches, 


54 


ae 
43° VACZLAV BROZIK 


Brozik’s ‘‘ Embassy of Ladislaus of Bohemia to Charles 
VII. of France,” painted in 1878, hangs in the National 
Gallery at Berlin. It is a characteristic example of this 
historical painter, himself a Bohemian, having been born 
in 1852 at Tzemoschna, near Pilsen. After being for a 
time a student at the Prague Academy, he became a 
pupil of Piloty in Munich and later of Munkacsy in 
Paris, where he established his residence in 1876, 


70 — The Presentation 


A rich family in the time of the Renaissance have 
about finished dinner, which has been served in a 
splendidly furnished apartment, and the lord of the 
mansion, a portly elderly man in black, has risen to 
‘receive a young cavalier, finely dressed in velvet and 
laces, who has come in. The seigneur is in the act of 
presenting his guest to the ladies grouped about the 
table. One young woman, the daughter of the house 
apparently, is standing up and occupies a central posi- 
tion in the composition. The color scheme is opulent 
and the story is well told. 

Signed at the left. Dated, Paris, 1879. 

Height, 38 inches; length, 58 inches. 


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RAYMUNDO DE MADRAZO 


A Spaniard living in Paris, Madrazo has been 
claimed by both France and Spain, and yet contrived 
to be independently himself. He was born in Rome in 
1841, and baptized in St. Peter’s. His father, Federico, 
the head of the Madrid Academy, was his first in- 
structor ; and when he died in 1859, the son proceeded 
to Paris, to become a student of the Ecole des Beaux- 
Arts, and later to place himself under Léon Cogniet. 
His first appearance at any exhibition was in the Salon 
of 1878, when his work received a first-class medal and 
the ribbon of the Legion of Honor. Since then ‘‘he 
has permanently impressed his students, variously ut- 
tered his aims as a modernist of power, and charmingly 
invested his life in his friends.” 


71 — After the Ball 


A street scene in Paris at night. Cabs are standing 
at the entrance of the old Bal Valentino in the Rue St. 
Honoré, and some of the last revellers are issuing from 
the brilliantly lighted doorway. A page of Paris life 
in the seventies, very truthfully depicted. 


Signed at the left. 
Height, 19 inches ; length, 31 inches, 


56 


CHARLES EDOUARD DE BEAUMONT 


It was as a landscapist, with subjects drawn from the 
neighborhood of Cernay and Senlis, that de Beaumont 
first obtained notice, in the Salons of 1838, 1839, and 
1840. Later he turned to genre painting and the oc- 
casional illustration of books. He was born in Lan- 
nion, France, in 1821, and became a pupil of Boise- 
lier. 


72 — The Difficult Choice 


In the courtyard of an inn in the country, a party of 
soldier-cavaliers have seated themselves to drink while 
a meal is prepared for them. In the foreground mine 
host, a portly figure, is looking over his flock of geese, 
which issue from their pen at his call, trying to decide 
which ones he shall choose for the spit. He wears a 
white apron, a bunch of keys dangles on one side of his 
waist, and a butcher’s knife at the other; but he also 
wears arapier. This is in keeping, perhaps, with the 
customs of the time, when every man had to guard him- 
self and his belongings, A fine example of genre work 
by a talented painter. 


Signed at the left. 
Height, 20% inches; length, 33 inches. 


57 


4 Mati 


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550 


GUGLIELMO INNOCENTI 445-7 


Born in Rome, and a pupil of the Academy in that 
city, Innocenti has made his home in Paris. 


73 — The Brigand 


A life-sized figure, almost full length, striding up a 
mountain path with his gun in his hands, and his head 
turned to look backward on the watch for his pursuers. 
The figure, in Italian peasant costume, is relieved with 
fine effect against the sky and is strongly painted. 


Signed at the right. 
Height, 59 inches ; width, 39 inches. 


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J. JAMES TISSOT Zy oar q 

During the last fifteen years Tissot has been busy 
with his paintings and drawings illustrating the Life 
of Christ. Before that he was known as a clever painter 
of Parisian scenes, and during his stay in London of 
studies drawn from the life around him. Born at 
Nantes, he was a pupil of Flandrin and Lamothe, in- 
fluenced in no slight measure also by the Dutch masters. 


74 — Summer Hours 


A young woman with an intelligent and very at- 
tractive face is seen seated on a couch at a window 
through which appears a lawn in sunlight. A striped 
awning screens the glare and causes the figure to be 
enveloped in diffused light. The young woman is dressed 
in a pretty summer gown of white trimmed with straw- 
colored ribbons. This is a thoroughly artistic picture 
by a painter whose reputation in similar subjects was 
made in Paris and London before he took up his great 
work of illustrating the Life of Christ. 

Signed at the upper left hand. 


Height, 33% inches; width, 23 inches. 
58 


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GSE PIERRE MARIE BEYLE 


> 


Lyons claims Pierre Marie Beyle as a son. He be- 
gan his career as a house painter, but, meanwhile, 
studied art, and, encouraged by the designer Philippon, 
sent his first picture to the Salon in 1867. His first 
medal was awarded in 1881. He is known chiefly as a 
genre painter, but subjects in connection with the sea 
have also come from his brush. 


75 — Une Partie de Dames 


Here are four prettily dressed women in a setting of 
landscape with willow trees and astream. Two are in 
a boat and two on the landing on the bank. One of the 
latter, as she bends over to speak to her friend who is 
sitting in the bow of the punt, holds up her gown a bit 
and discloses dainty buckled shoes and red stockings. 
Attractive in color arrangement and agreeably com- 
posed. 


Signed at the right. 
Height, 36 inches ; width, 25 inches. 


aad 


‘EMIL AUGUSTE PINCHART SPI AE ert 


Born at Cambrai, a pupil of Géréme, this painter has 
divided his time between history, genre, and portraits, 
which on several occasions have been awarded medals. 


76 — Chrysalis 


A young woman in fanciful costume of blue, white, 
black, and yellow, seated on a semicircular stone 
bench in a garden, is looking at a butterfly which a 
cupid before her has caught and holds up for her 
admiration. Fine decorative quality of color and clever 
execution. 

Signed at the right. Dated, 1875. 


Height, 3134 inches; width, 23 inches. 
59 


a 


JEAN BERAUD her Js q 


Born in St. Petersburg of French parents, and a pupil 
of Léon Bonnat, Béraud made his first successes by 
spirited and truthful rendering of every-day scenes for 
the illustrated journals. Pictures involving similar 
subjects followed, as well as portraits, which obtained 
him a good standing. In 1882 he won his first medal 
at the Salon. His latest and most distinguished man- 
ner has been the painting of Scripture subjects, set in 
modern surroundings. They have aroused controversy 
through their tendency to sensationalism, yet they display 
such remarkable technicalskill and power of character- 
ization that the impression made by them was too strong 
to be gainsaid. 


77 — La Place de l'Europe, Paris 


A street scene in a fashionable residence quarter in 
Paris, where the Chemin de Fer de l'Ouest passes under 
a great square. A number of promenaders are seen in 
the foreground, and two cabs are passing. In the dis- 
tance are the railway station and other buildings, illu- 
minated by the late afternoon sun. Sober in color and 
cleverly painted. 


Signed at the right. 
Height, 18% inches; length, 28 inches. 


60 


Ts al 


DON LUIS ALVAREZ 


Born at Madrid in 1841 in narrow circumstances 
and early left an orphan, Alvarez contrived to secure 
entrance into the Academy, and, encouraged by his 
master, Federico Madrazo, made his way to Rome, 
though almost penniless. His first picture, exhibited in 
Florence in 1861, obtained a medal, and was purchased, 
when he brought it to Madrid for exhibition, by Queen 
Isabella, who also gave him a pension to enable him to 
continue his studies. Returning to Rome, he received } 
royal favor and government commissions, and has been 
one of the most influential men in shaping the present : 
Spanish school of art, : 


78 — Toilette of Madame du Barry 


furnished boudoir, arranging a lock of her powdered 
hair as she looks into a mirror held before her by a 
young abbé on bended knee. A maid offers her a bon- 
bonniére of sweets and two ladies look on, while a small i 
white poodle sits on the floor and gazes fondly at his . 
mistress in the hope of being favored with a bit of candy. 
Elaborately finished in an attractive scheme of color. 
Signed at the left, Dated, Rome, 1876. 
Height, 21 inches; length, 27 inches. 


i 
The Duchess sits in a gilt chair in her magnificently | 
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61 


tle 


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dar ght 


VICTOR BACHEREAU-REVERCHON 


Favorably known as a painter of animals, Bachereau 
has also obtained repute for his treatment of historical 
genre, which he has represented with fidelity to the 
characteristics of the period and with much spirit and 
imagination, He was born in 1843. 


79 — La Veille d’un Mariage au XVIee 


Siécle 


The noble cavalier at the left, who is to be the bride- 
groom of the morrow, has just signed the marriage 
contract, and, with the quill pen still in his hand, bows 
low over the hand of his future wife, who, accompanied 
by her ladies, is just leaving the great salon where, on 
a table, the wedding gifts are displayed. The company 
of guests is forming in procession to follow. The cos- 
tumes are rich and elegant, and the work shows an 
authentic picture of life and manners in the sixteenth 
century. 

Signed at the left. Dated, 1879. 

Height, 30 inches; length, 43% inches. | 


62 


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GABRIEL MAX 


The most distinguished work in Germany to-day is 
being done by individual painters, each pursuing 
methods peculiar to himself. Prominent among them 
is Gabriel Max, painter of historical and genre subjects. 
He was born in Prague in 1840, being a son of the 
sculptor Josef Max. He studied, successively, under 
Engerth at the Prague Academy, under Blaas at Vienna, 
and with Piloty at the Munich Academy, of which last 
he eventually became a professor. But it is less by 
following the traditions of the German schools than by 
relying on his own personality that he has built upa 
steadily increasing fame. 


80 — Brother and Sister 


This group of two figures exhibits a fine study in 
pink and wine color. The costumes of the brother and 
sister give these two paramount notes in the color 
scheme. The brother, with a lute in one hand anda 
twig from a vine in the other, reclines with his head on 
his sister’s lap. She is reading to him from a book. 
The background shows a stretch of landscape. 


Signed at the left. 
Height, 42% inches ; width, 33 inches. 


63 


JJ 


LUCIEN A. GROS 4 


Meissonier was the master of Lucien Alphonse Gros, 
and the genre pictures of the pupil are well drawn and 
full of character. 


83 — Prisoners of War 


The time is the period of Louis XIII. In an immense 


building with stone pillars and great oak roof-beams, 
the commander of the soldiers is seated in an arm- 
chair, while the prisoners of war are being brought up 
before him for judgment. One, whose clothes have been 


almost ripped from his body, is on his knees in supplica- _ 


tion, while his keeper, a tall figure in crimson, stands 
by, holding the rope which binds the prisoner’s hands. 
This spirited composition is crowded with figures, and is 
very effective in the arrangement of the groups and the 
disposition of the masses of light and shadow. The 
bright hues of the soldiers’ costumes form agreeable 
notes of color. | 
Signed at the left. Dated, 1871. 
Height, 84% inches; length, 61 inches. 


64 


Pr LOUIS EMILE ADAN yy pdf 


A pupil of Picot and Cabanel, Adan has consistently 
pursued his early choice of historical and genre subjects. 
He was born in Paris in 1839. 


82 — The Arrival at the Chateau 


A party of people are just arriving at the great door- 
way of a chateau with paved court, and the host and 
hostess have come down the steps to greet them. The 
central group consists of the young hostess and a lady 
visitor, who are kissing each other, a young gallant 
standing by as he draws off his gloves, and a little boy 
who pulls the arm of the hostess to remind her of his 
arrival also, Beyond the pillars of the porch at the right 
is a postilion, and two porters carrying in the trunks 
and boxes to the side-door of the chateau. The period 
is the latter part of the reign of Louis XVI. A sterling 
work, a very pleasing subject, and a fine piece of quiet 
color. Medal at the Salon of 1876. 


Signed at the left. 
Height, 29 inches; length, 45 inches. 


Y 
HENRI GOUVION SAINT-CYR 


“Ophelia,” exhibited in the Salon of 1880, is a charac- 
teristic example of the painter, who was a pupil of 
Leloir. 


83 — Ophelia 


A beautiful life-sized figure, Ophelia is blond, and 
wears a splendid court costume of white with gold em- 
broideries. Her arms are full of flowers and a wreath 
of pink blossoms crowns her pale golden hair. Rich in 
color and attractive in general effect. 
Signed at the right. Salon number, 1676. 
Height, 86 inches; width, 58 inches. ; 


7-4 7+ ferght ot Sale TEES = 


be 


SECOND EVENING’S SALE 


Wednesday, February 14th 
AT CHICKERING HALL 


BEGINNING AT EIGHT O'CLOCK 


J. H. DOLPH, N.A. 


Although a painter of the figure and of cattle, it is 
for his dog and cat subjects, especially the latter, that 
J. H. Dolph is best known. He was born at Fort Ann, 
N. Y., in 1835 ; studied under Louis van Kuyck in Ant- 
werp, and has been identified with the art life of New 
York for many years. He was elected an Academician 


in 1898. 4 


84 — Head of Cat Ws 7 


Picture of a cat, with a wide, starched, lace-trimmed 
collar around her neck. Painted in this artist’s inimi- 
table manner. . 

Signed in initia] at the left. Dated, 1877. 


Height, 6% inches ; width, 5% inches. 


85 — A Pug Dog yy: 


Picture of a pug dog, with a stiff white ruff around 
his neck. A fine bit of animal painting, with a touch 
of humor. Companion to the preceding. 

Signed in initial at the left. Dated, 1877. 


Height, 61% inches; width, 5% inches. 
66 


LOUIS GEORGES BRILLOUIN 


A pupil of Droélling and Cabot, this painter was born 
at St. Jean d’Angely in 1817. His figure subjects were 
awarded frequent medals at the Salon, oO We. 


86 — Three Cronies 


Three elderly men, in costume of the Restoration, 
sitting on a bench chatting and taking snuff. The cen- 
tral figure in the group wears a suit of red, and makes 
the principal color note in a quiet scheme of tints har- 
moniously arranged. 

Signed at the left, and with the inscription, ‘ A 
Madame J. Janin, homage respectueux.” Dated, 1878. 


Height, 8 inches; length, 1o inches. 


ANTOINE EMILE BERANGER 


Born in 1813 at Sévres, where his father Antoine was 
connected with the Royal Porcelain Works, the younger 
Béranger learned his art and followed it for many years 
as adecorator. Later he developed into genre pictures, 
finding his favorite subjects in young women of the 
working classes in pretty costumes, which he rendered 
with avery agreeable freshness and purity of color. 


} e 


87 — The Bouquet Girl 


The pretty flower-girl in Directory costume stands at 
the entrance of a house offering her nosegays with a 
graceful gesture. Within are seen several figures 
gathered about atable. Highly finished and attractive 
in color. 

Signed at the right. Dated, 1878. 


Height, 11 inches; width, 8 inches, 


67 


GIOVANNI BOLDINI 


Son of a painter of saints, Giovanni Boldini was born 
in 1845 at Ferrara, Italy. Six years of his early life as 
an artist were spent in Florence, Since 1872 he has 
made his home in Paris. Fortuny, writing to a friend 
in 1874, says: ‘‘I should also like to see something by 
Boldini. Judging from what little I have seen, he knows 
what he is about.” So when the Spanish painter came 
to Paris, it was natural that he and Boldini should be 
drawn to each other; indeed, so strong was the sym- 
pathy between them that of all the band who came 
under the influence of Fortuny’s brilliant personality 
none caught more of his dash and swing of movement 
than Boldini. A love of sunshine, of the clarity and 
sentiment of light and its action upon different surfaces, 
the latter has always had. One may see it in his genre 
pictures and in the landscapes, wherein the sunlight is 
rendered with much fidelity and with a sense of joyous- 
ness that is communicated to the spectator. In his 
portraits he displays extraordinary intensity and con- 
centration, rendering the personality of the sitter with 
an actuality and a brilliancy of technique that is fairly 

we amazing, 


64S ; - | 
88 — In the Garden LY. Sireng v 


One of Boldini’s marvellous bits of painting, repre- 
senting a gentleman in a garden with his greyhound, 
pausing in his walk to look at the sculptured figures on 
a great flower-vase. His costume is pink and crimson, 
and the notes of color thereby given are admirably set 
off by the green of the parterres and trees and the blue 
of the sky. A captivating little picture and a fine ex- 
ample. 

Signed at the left. Dated, 1876. 


Height, 8% inches; width, 6% inches. 


68 


ETIENNE PROSPER BERNE-BELLECOUR 


At the age of nineteen, Berne-Bellecour, who was a 
native of Boulogne, became the pupil in Paris of Picot, 
supporting himself meanwhile by photography, in which 
his experiments were so original that he was awarded a 
recompense in this department at the Universal Exposi- 
tion of 1867. Up to this time he had been known at the 
Salon as a landscapist, but in 1868 the painter Vibert, 
who had become his brother-in-law, induced him to 
abandon photography and devote himself continuously 
to painting. He adopted the advice, abandoning land- 
scape also, and taking to figure subjects of a military 
character, in search of motives for which he visited 
Algiers. Recalled by the outbreak of the Franco-Prus- 
sian War, he served in a regiment of Franc-tireurs, 
receiving a medal for gallantry under fire. This fixed 
his determination to be a painter of military subjects, 
and the experience he had gained gave to his pictures, 
which followed in quick succession after his retirement 
from the army, an actuality and interest that were rec- 
ognized by the award of medal after medal. He trav- 
elled in England; resided in Russia as the guest of 
Alexander II.; practised with success as a sculptor and 
etcher, and in 1878 was granted the cross of the Legion 
of Honor. As a military painter he ranks with De 
Neuville and Detaille in the estimation of the French 
nation, and the reproductions of his pictures have added 
an international reputation. 


89 — In the Trenches Lb Ge closets 


A French officer of Chasseurs leaning on a rampart, 
glass in hand, and looking steadily at the action in the 
distance. Excellent in character, well painted, and fine 
in drawing. 

Signed at the left, Dated, 1877. 

Height, 13 inches; width, 8 inches. 


69 


1G o 


/60 


J. ENRIQUE 


A Parisian painter of light genre, — 


90 — On the Terrace henge fer / 


A group ofa score of ladies and gentlemen in costume 
Louis XIII. on a terrace, listening to three musicians 


and actors, who are amusing them. The figures are 
very small and the execution is almost microscopic. 
Bright and pretty in color. 

Signed at the right. Dated, 1388. 


Height, 6 inches; length, r4 inches. 


ORESTE CORTAZZO 


Among the many examples of this Italian painter of 
genre subjects which are owned in this country are: 
“The Interrupted Sitting”; ‘‘The Geographical Stu- 
dent”; ‘Teasing the Poet 9" tariness eager 
“Crowning the Bride”; “The Judgment of Paris”; 
and “ Amateurs of Bric-a-Brac,” 


91 — Unsuccessful 


Here is a gentleman in cocked hat and satin breeches, 
sitting disconsolately at the foot of a flight of steps lead- 
ing from a terrace above, who has been writing verses. 
But his achievement has not equalled his inspiration, 
and his ink-bottle is overturned and crumpled scraps of 
paper are strewn about him. Two ladies nearby are 
looking at him in his plight, and a third, behind him, 
tickles his ear with a straw to rouse him from his 
reverie. 

Signed at the right. Dated, 1875. 


Height, 13 inches; length, 21 inches. 
70 


ued. Bed Lg Z, | ; ‘ 


LUIS FALERO 


This Spanish painter, who early in his career settled 
in Paris, won a medal of honor at the Exposition Uni- 
verselle, 1889. 


. {7 4 
92 — Egyptian Dancing Girl A A275 


A young woman with headdress of sequins, the torso 
nude, and a piece of figured stuff draped about the lower 
part of her figure, seated on a landing place in a Moor- 
ish stairway. Good in color and execution, and attrac- 
tive in aspect. 

Signed at the left. Dated, 1878. 


Height, 10 inches; width, 7% inches. 


ALFRED THOMPSON BRICHER, A.N.A. 


Nature has been A. T. Bricher’s sole teacher, and 
with characteristic loyalty he has devoted himself to 
the reproduction of those scenes with which he has 
been familiar since boyhood. A native of Portsmouth, 
New Hampshire, where he was born in 1839, he has 
found his subjects in the landscapes and coast scenes 
of New England, rendering them in water color as well 
as in oils. He began to paint in 1858, and ten years 
later sent his first picture to the National Academy 
Exhibition. His election as Associate of the Academy 


occurred in 1879. 
93 — Coast of Maine ae 
The sea rolls in, breaking on the rocky beach, and a ; 
great mass of rock rises up at the right. In the distance 
a headland and ships on the horizon. 
‘Signed at the left. Dated, 1881. 


Height, 20 inches; length, 39 inches. 
71 


JEAN CHARLES MEISSONIER 


Son and pupil of the great Ernest, Jean Charles 
Meissonier is favorably known by his eighteenth cen- 


tury scenes executed in the manner of the old Dutch 
masters. 


94 — The Learned Monk 


An ascetic-looking monk is seated at a table with a 


green baize cover and piled up with books, making 
notes from a large volume spread open before him. The 


light falls from a shuttered window at the right.. Sober 
in color and excellent in drawing. A fine little genre 
work. . 

Signed at the right. Dated, 1877. 


Height, 1534 inches; width, 10 inches. 


LOUIS AUGUSTE GEORGES LOUSTAU- 


NAU 


Spirited and humorous subjects, painted in a strong, 
broad manner and carefully finished, are the char- 
acteristics of Loustaunau, who was a pupil of Vibert, 
F. Barrias, and Géréme. 


95 — The Amateur Artist &. e 


A venerable cardinal with artistic tastes has been try- 
ing his hand at painting a picture. While he stands, 
mahl-stick and palette in hand, before it, a young man 
sits in an armchair and critically looks at the picture 
through his hand used as a light-screen. The episode 
takes place in a room in the cardinal’s palace. 

Signed at the left. Salon of 1878. 


Height, 21% inches; width, 28 inches. 
72 


Lt? Mest! 


AUGUSTE TOULMOUCHE 


Piquant scenes from daily life, executed with much 
vivacity and great skill inthe renderings of satins and 
velvets, have occupied the brush of Auguste Toul- 
mouche. He was born in Nantes, 1829, became a pu- 
pil of Gleyre, and has gained many medals, as well as 
the red ribbon of the Legion of Honor, 


96 — Admiration . Gorgon 


A three-quarters-length figure of a young woman in 
a pretty costume of light and dark blue and a white 
waist, hand on hip, looks admiringly, and with good 
reason, at her face reflected in a hand mirror which 
she holds up before her. An engaging figure skilfully 
painted. 

Signed at the right centre. Dated, 1878. 


Height, 16 inches ; width, 9% inches. 


4 


CHARLES D. HUE 


A pupil of Fleury and Caraud, Charles D. Hue is seen 
at his best in genre and character studies. 


L Bee be 
97 — The Betrothal fey Megf— 


A group of nine or ten persons in costume of the latter 
part of the reign of Louis XVI. in a finely furnished 
salon. The central figures are a young couple who, in 
the presence of their elders, are being formally engaged 
to be married. The young man respectfully kisses the 
hand of his future wife. 

Signed at theright. Dated, 1875. 


Height, 12% inches; width, 20% inches, 


ie i 


vi 


A2E 


J. E, ANDERS 


A painter of the Diisseldorf school, in good repute 


for his genre subjects. 
cA: 7 é 
. Y/, / 
98 — A Brunette KE. 4 


CORT 


A head in three-quarters view of a young woman 
with dark hair. Her bodice is cut square at the neck, 
and she wears a string of pearls. Excellent in color 
and charming in character. 

Signed at upper left hand. Dated, 1878. 


Height, ro inches ; width, 8 inches. 


H. ZUGEL 


After a course in the Art School at Stuttgart, Zigel 
became a pupil in Munich of Anton Braith, the cattle 
painter. The master’s influence determined his career. 
He sought his subjects chiefly in sheep, which he painted 


with close attention to detail. Then he visited Paris, © 


and, studying the works of Troyon and of Rosa Bonheur, 
developed greater breadth of manner and depth of color, 
including cattle also in his subjects. In his particular 
line he is highly esteemed in Germany. 


99 — The Evening Meal Vi ie eae 4 


A flock of sheep in the fold are eagerly crowding to 
an open door, barricaded with a railing, where the shep- 
herd will soon appear with their provender. He may 
be seen in the shadows of the stable within, and, mean- 
while, his dog looks over the bars at the sheep and ad- 
monishes them, so to speak, to be patient. An excel- 
lent picture of sheep, with an agreeable golden tone. 

Signed at the right. 

Height, 181 inches ; width, 26 inches, 


7+ 


DON VICENTE PALMAROLI 


There is something of Fortuny, and not a little of 


Meissonier, in Palmaroli’s style. He was a pupil of 


Federico Madrazo and of the San Fernando Academy, 
continuing his studies in Rome. Then he became 
director of the Spanish Academy, and has since won 
many medals, both in Paris and in his native city of 


Madrid. 
oe. 
100 — The Welcome Address 


A benevolent-looking old priest in robe of white with 
black cape is sitting in the salon of a fine house where 
he has come to make a visit, and before him stands his 
hostess, with her little daughter in front of her, who reads 
a composition from a large double sheet. A maid peeps 
in at the doorway on the left. A pretty subject, charm- 
ingly interpreted. 

Signed at the right. 


Height, 19% inches; length, 28 inches. 


JULES FREDERIC BALLAVOINE 


A Parisian, born and bred, and pupil of Pils, Balla- 
voine is favorably known for his representation of his- 
torical and genre subjects. 


> a~ 
J0{ — Take Care! EO: FemnelC 


A lady sitting in a wicker chair on a terrace over- 
looking the sea makes a warning gesture with her left 
hand to her little girl, who has climbed up on the wall 
and is in danger of falling. Attractive in color and 
skilfully painted. 

Signed at the left. 


Height, 23% inches; width, 17 inches. 
75 


LO 


i tn aac 2 NAN rai i ica 


Perea Oa Ee GEA x fe ETE RST) 


taints 


ney eN sar es ee 


So =a 


{4A 


OTTO ERDMAN 


Still another to whom the charm of Diisseldorf proved 
irresistible is the genre painter Otto Erdman. Born 
in 1834, he first studied art at the academy in his native 
city, Leipsic, later continuing his studies in Dresden 
and Munich. 


{02 — Love in the Pantry 42.74 A | 


The butler, with powdered wig and long gray coat 
with pink shoulder-knot, is passing into the dining-room 
with a tray and a pile of plates, just as the waitress 
comes out with the soup tureen. He finds a way to 
carry his burden and at the same time to blow a kiss 
from the tips of his fingers to his pretty sweetheart. An 
excellent piece of genre of the German school. 

Signed at the left. Dated, Diisseldorf. 


Height, 22 inches; width, 16 inches. 


EDOUARD LEON GARIDO 


Garido excels as a painter of the women of his own 
country. He was born at Madrid, and learned his art 
under Palmaroli. 


Ob far el 


103 — In the Luxembourg Garden 


The scene is in the great garden, with the walls of the 
palace to which it belongs in the distance. In straw 
chairs at the side of the smooth gravelled walk two 
ladies are seated chatting, while two little girls are at 
play before them. Beyond is a nurse holding in her 
lap a child she has taken from its low-swung carriage. 
A pretty episode charmingly depicted. 


Signed at the right. 
Height, 14 inches; length, 18 inches, 


76 


EUGEN DUCKER 


Eugen Diicker was born at Arensburg, in the isle of 
Oesel, Livonia, in 1841. He studied at the St. Peters- 
burg Academy, being awarded in 1862 the great gold 
medal. After extensive travel and study in Germany, 
Holland, Belgium, France, and Italy, he finally settled 
down in Diisseldorf, becoming a professor of its academy 
in 1872 and devoting himself to the painting of land- 
scapes and marines, 


104 — Leaving Port MA Goriege— 


A side-wheel steamer with smoke pouring from its 
funnel has just left a landing place on the Baltic, which 
appears in the right foreground. A sunset sky with 
orange-tinted clouds. 

Signed at the right. Dated, 1877. 


Height, 1334 inches; length, 20 inches, 


JOHANNES CHRISTIAAN KAREL 
KLINKENBERG 


This painter of views of city scenery, more especially 
of the charming features of The Hague, was born there 
in 1852, became a pupil of Christoffel Bisschop, and set- 
tled down to live and work there. 


105 — Courtyard of a Cloister A Gleiepe 


An architectural study, painted with rich but sober 
color. The figures of three nuns, with black robes and 
white collars, contrast effectively with the dull red, 
gray, warm yellow, and slate color of the buildings. 

Signed at the right. 


Height, 14 inches; length, 2114 inches, 
Th 


FRITZ WERNER 


The most talented pupil of Menzel, and a student 
under Meissonier also, Fritz Werner shows the influence 
of both masters. In the elegant treatment of stuffs and 
accessories he followed the great Frenchman, while in 
conception and coloring he has successfully imitated the 
style of Menzel. 


AS 106 — Consulting the Map oe Finny ‘ 


A group of three men in a room with woodwork and 
doors painted green. One, an elderly man, is pointing 
out a place on a map to a young man in black costume, 
while a soldier leans comfortably back in his chair 
awaiting the result of their discussion and smoking his 
pipe and drinking his beer. 

Signed at the right centre. Dated, 1871. 


Height, 15 inches; length, 18 inches. 


LOUIS GEORGES BRILLOUIN 


A pupil of Drélling and Cabot, this painter was born 
at St. Jean d’Angely in 1817. His figure subjects were 
awarded frequent medals at the Salon. 


Liv 107 — The Critics aes) Povrebe 


The portrait of a man in peruke and red coat is on 
the easel in the studio, and the original stands beside the 
canvas in the attitude in which he is depicted. Before 
the picture are two friends and the spectacled painter. 
The latter looks questioningly at the critics, awaiting 
their verdict on the success of his work. 

Signed at the left. Dated, 1878. 


Height, rg inches; length, 24% inches. 
78 


RENE LEGRAND 


Born in Paris, a pupil of Pils. 


108 — Cornered C2. wae | 


A comfortable-looking old priest sits in a big arm- 
chair at one side of a table on which is a checker-board, 
and opposite him is his young assistant, black-gowned 
and black-capped, like himself, who is scratching his 
head in despair as he considers the dilemma he is facing 
in the game. A fat tortoise-shell cat sits on the floor, 
and on a low stand there is a tray with a bottle and 
glasses. The room is severely bare, but a porcelain 
stove in the corner gives out its gentle heat and the 
scene shows a pleasant picture of life and manners, 


Signed at the left. 
Height, 15 inches ; length, 18 inches. 


GILLAUME GEETS 


A distinguished painter of the modern Flemish school, 
and director of the Academy of Malines, Geets made 
his first success with his picture entitled ‘‘ Tout n’est 
que Fumée,” which was followed by ‘ Exorcisme de 
Jeanne de Folle.” 


109 — The Empty Cradle vi &- Begpre 


A young mother in purple velvet and a white head- i 
dress sits beside the empty cradle of her baby, who has i 
been taken away by death. With her chin resting in 
her hand, she looks sadly into space. The costume and ; 
the furniture of the interior are German, of the time of 
the Emperor Charles Quint. 

Signed at the right. Dated, Machelen, 1876. 


Height, 15 inches; length, 23 inches. 
79 


Vika 


/S0 


GIUSEPPE CASTIGLIONE 


Visitors to the Philadelphia Exposition of 1876 may 
remember Castiglione’s two pictures, ‘‘ The Warrant” 
and “ Visiting the Cardinal Uncle.” The latter, as well 
as his ‘Soldiers of Cromwell at Haddon Hall,” was 
shown at the Paris Exposition two years later. Both 
his genre pictures and his portraits reveal the joint influ- 
ences of his Italian origin and Parisian training and 
environment, 


410 — Near the Garden Gate 4 Ge 


Three ladies are grouped about a bench in the park 
near a gateway which leads to a garden where tropical 
plants are seen in pots in a row along the-border of the 
pathway. The foreground is in shadow, and through 
the great trees of the park the sunlight is seen flooding 
the garden beyond. 

Signed at the right. 


Height, 15 inches; length, 21 inches. 


T. VANDENVOS 


A genre painter, with a predilection for Spanish sub- 


jects. S Gutman 
p beyflort 


J{1 — Spanish Interior 7 


A man with embroidered jacket and Catalan scarf 
about his waist sits on one side of a table on which are 
a flagon of wine and a water-jar, talking to a young 
girl on the other side, who strokes a cat and manceuvres 
coquettishly with a fan, 

Signed at upper right hand. 


Height, 14% inches; length, 21 inches. 
80 


<T « 


JUST V’HERNAULT 


Born at Remiremont (Vosges), France. Studio in 
Paris. 


27 0 
7 JJ2 — Visit to the Fortune-teller tC Gorn 


A peasant girl with blue and white striped skirt, red 
and white bodice, and a basket of vegetables on her 
knees, is sitting at one side of a table in a rude interior, 
while leaning over from the other side is a comfortable- 
looking old woman with a blue hood and a sheepskin 
over her shoulders, who lays out the cards and informs 
the young woman of her fate. A faithful study of char- 
acter. 

Signed at the right. 


Height, 21 inches; length, 27 inches. 


POMPEO MASSANI 


It has been said that Massani is one of the few Italians 
of our time who can paint a smile. The Italian sense 
of humor is active in him, but not to a sufficient extent to 
invest his works with that element of exaggeration which 
mars so much that is otherwise good in modern Italian 
painting. 


2/0 OC Dyeev ler 
113 — In the Wine Vault 


Two monks, two soldiers, and a serving maid are 
making merry in the cellars with song and wine. One 
of the monks, with spectacles on his nose, is the leader 
in the entertainment, and is singing a song with appro- 
priate gestures. A skilfully painted piece of genre work. 

Signed at the left. Dated, 1880.. 

Height, 18 inches; length, 27 inches. 
81 ; 


ANTONIO CASANOVA Y ESTORACH 


Scenes of court life in the seventeenth century repre- 
sent Casanova’s most important works, though he is 
probably more widely known by his pleasant satires on — 
the priesthood, full of suggestiveness and humor. He 
was born at Tortosa, Spain, in 1847. Many years of 
poverty and struggle, during which he studied at the 
Barcelona Academy under Lorenzale and later with 
Federico Madrazo at Madrid, were terminated by his 
winning the Prix de Rome. Four years afterward he 
visited Paris and exhibited a picture. It was well re- 
ceived, as was a second one, so that in 1877 he settled — 
there, producing in successive years, ‘‘ Van Dyck at the 
Court of Charles,” ‘“‘ Marriage of a Prince,” and ‘‘ Héros 
de la Féte.” The good impression which they made 
was confirmed by his large canvas, ‘“‘ Sword and Gown,” 


| exhibited in 1882. VO be 
Do: Fee y 
J{4 — The Chocolate Party 


An old gentleman and his wife and their two beautiful 
daughters are entertaining two monks in their salon 
with chocolate and cakes. One rotund and jolly brother 
is happily placed between the two young ladies, and the 
other monk, grim-featured and lean, talks solemnly with 
the mother. The father is an indifferent spectator, and 
a servant in red livery waits upon the company. 

Signed at the left. Dated, Paris, 1878. 


Height, 17% inches; length, 23 inches, 


GEORGE H. BOUGHTON 


Born in England in 1834, Boughton three years later 
was brought to this country by his parents, who settled 
in Albany, N. Y., where, as a boy, he began to instruct 
himself in art. He opened his studio there in 1850, the 
old American Art Union being almost his first patron. 
It was on the proceeds of its patronage that he went to 
Europe to study, returning several years later and 
making his first appearance at the National Academy 
Exhibition in 1858, with ‘“‘A Winter Twilight.” The 
following year he returned to Europe, residing first 
in Paris, and then finally settling down in London. He i‘. 
has painted a wide range of subjects, and gained reputa- - 
tion for landscapes as well as his better known studies 

d of the Knickerbocker, Puritan, and Huguenot periods. 


| 4 Ye 
a7 115 — Huguenot Fugitives de x, Le 


| 
In the foreground is the tall, noble figure of a gentle- | 
man in a suit of dark brown, his hands resting on his 
long sword. His expression is sad but determined. | 
At his side is his wife, seated in the shelter of a great 
rock, with her baby in her arms. A scouting party on 
the dunes in the middle distance is firing on a boat 
loaded with people, which is pulling off from the shore, 
‘while the occupants return the fire. A notable work, 
‘with a soberly conceived scheme of color. 
Signed at the left. 


Height, 20 inches; length, 29% inches. 


83 


Brecremmen- 


FRANCOIS BRUNERI 


Leaving his home in Turin, Bruneri early came to 
Paris, and placed himself under Géréme, and later 
studied with Bonnat. “He has secured reputation both 
for his genre subjects and portraits. 


116 — Canal Scene in Venice Ps A hag Z 


A gondola with two boatmen fills the foreground of 
the canal, with an arched bridge just beyond. On either 
side are the picturesque walls of the Venetian houses. 
Effect of sunlight ; delicate in color. 


Signed at the right. 
Height, 18 inches; length, 21 inches, 


FIRMIN-GIRARD 


The favorite pupil of Gleyre, was born at Poncin in 
1838. Under his master’s suggestion he adopted a 
style of light genre subjects, which he treats with fresh- 
ness of color and remarkable refinement. ‘The Flower 
Girl,” sold at the dispersion of the Stewart Collection, is 
remembered as a picture which, to quote one of Fir- 
min-Girard’s admirers, ‘‘has placed his reputation on 
an enduring basis.” 


117 — Fishing LW favr 


A lady in summer gown of écru stuff, with Leghorn 
hat, is standing on a foot-bridge fishing in the stream 
which flows beneath between banks thickly covered 
with green foliage. A watering-pot, to hold her catch, 
and a bright-eyed little terrier are beside her, 

Signed at the left. Dated, 1876. 


Height, 30 inches ; width, 19! inches, 
84 


CHARLES BAUGNIET 


A collection of three hundred lithographed portraits 
first established the reputation of Charles Baugniet. 
He was born in Brussels in 1814, and became the pupil 
of J. Paelinck and M. F. Willens. After residing several 
years in England he established his studio in Paris, 
spending, however, a considerable part of his life in 
Sévres ; dividing his attention between genre and por- 
traits. A considerable number of his pictures exist in 
the private collections of this country. 


118 — The Engagement Ring Ms C4 Hemingg 


A blond young woman, in écru gown with light blue 
corsage and trimmings, is standing beside a Louis XV. 
chest of drawers, looking at the engagement ring she 
wears on one of her fingers. A tapestry on the wall, 
and another serving as a portiére, a bouquet of roses, a 
gilt chair on which are a Leghorn hat, gloves, and a 
parasol, and two Sévres vases are among the accessories. 

Signed at the left. Dated, 1876. 


Height, 26 inches; width 17% inches. 


F, DELACROIS 


French school. Landscape and outdoor life, 


119 — Harvesting 


A young woman crowned with a wreath of blossoms 
and wheat sits on a bank, a sickle in one hand and the 
other resting on a sheaf. Beside her is a little girl with 
a basket of flowers. An ideal composition, with decora- 
tive qualities of color. 

Signed at the right. 


Height, 25 inches; width, 20 inches. 


85 


ikea" ye 


V. CAPOBIANCHI 


This Roman painter is known by dainty little genre 
subjects, in which light and air are well depicted. 


“Melo 


{20 — Treasure Room of Baron Roths- 
child 


In a splendid apartment, filled with magnificent 
ancient furniture and objects of art, sits a sweet-faced 
lady in a creamy-white gown with voluminous flounced 
skirt, turning over the leaves of an illuminated book. 
A companion in pale blue stands near her. Both figures 
and still life are very cleverly painted, and the general 
effect is extremely attractive. 


Signed at the left. 
Height, 21 inches ; length, 28 inches. 


KARL PIERRE DAUBIGNY 


As ason and pupil of the famous Charles Francois, 
it was inevitable that Karl Pierre should at first imitate 
the master; but he has gradually formed a style of his 


own, and his pictures won frequent honors at the Salon. 


fC. CHE 


121 — On the Seine 


A beautifully composed picture, with a placid river on 
the right, meadows and trees at the left, and hills in the 
distance. Over all, asummer sky of very pale, tender 
blue, with warm white clouds. A boat in the river, 
two or three figures on the bank, and a young woman 
in a red bodice picking wild flowers in the meadows 
enliven the peaceful prospect. 

Signed at the right. 

Height, 21 inches; length, 36 inches. 
86 


| 


ARTHUR PARTON, N.A. 


A conscientious technician, feeling after the spirit as 
well as the facts of a landscape, Arthur Parton is seen 
at his best in simple rural subjects, which he paints 
most sympathetically. He was born at Hudson, N.Y., 
in 1842 and studied under William T. Richards in Phil- 
adelphia. Later he visited Paris and London, sketch- 
ing; also, for a summer in Scotland. In 1873 he was 
elected an Associate of the National Academy, and in 
1884 an Academician. He is a member of the Ameri- 
can Water Color Society and has his studio in New 
York, although he resides in the country and does much 
of his painting there. | 


122 — Milford on the Delaware LAE, Lb 


The river, with the bank on the right, occupies the 
foreground. On the opposite shore are clumps of trees 
and hills in the distance. The sky, with its clouds of 
gray and warm white, is dramatically composed and the 
picture is very agreeable in tone. 

Signed at the right. 

Height, 21 inches; length, 35 inches. 


a 


CHARLES BOMBLED 


Born at Amsterdam and a pupil of Schmidt, Charles 
Bombléd is best known by his military subjects, espe- 


cially of the French army. 
a 
{23 — Arab Videttes im eke 


A party of mounted Arabs in the desert, with their 
leader detached from the group scanning the horizon. 
A sky of gray clouds, with patches of blue. 

Signed at the right. 


Height, 22 inches; length, 29 inches. 
87 


VAL 


SOP 


FELIPE MASO 


A native of Barcelona, Spain, Maso, on reaching Paris, 


became a pupil of Bonnat. 
Aad Ye Lote 
J24 — In the Boudoir 


Two young women are reclining at their ease on the 
couches of a boudoir, while a gypsy girl stands before 
them with a row of playing cards laid out at her feet 
and plays on a tambourine held high above her head. A 
skilfully painted piece of genre. 

Signed at the left. Dated, Paris, 1879. 


Height, 1934 inches; length, 25 inches. 


CHARLES EDOUARD DE BEAUMONT 


It was as a landscapist, with subjects drawn from the 
neighborhood of Cernay and Senlis, that de Beaumont 
first obtained notice, in the Salons of 1838, 1839, and 
1840. Later he turned to genre painting and the oc- 
casional illustration of books. Hewas born in Lannion, 
France, in 1821, and became a pupil of pee 


125 — Tomb of Philippe Pot MG 


The famous tomb of the warrior, with its eight 
supporting figures of cowled monks, appears in the 
meadows in the foreground, with the ruins of the 
church in the middle distance. A Frenchman and his 
sweetheart have come out for a day in the country and 
are enjoying a siesta comfortably reclining against the 
tomb. Theman dozes, while the young woman, shaded 
by her parasol, is smoking a cigarette. A little distance 
away a donkey is nibbling at a pile of freshly cut grass. 

Signed at the right. Dated, 1875. 


Height, 23 inches ; length, 37 inches. 
x 88 


JOSEF FAY 


This Dusseldorf painter of Italian subjects was born 
in Cologne in 1813. He passed from the Diisseldorf 
Academy to Munich, and thence to Paris, where he 
studied for two years under Paul Delaroche. 


126 — Italian Peasants Jit (Cele 


Two men, a boy, and their dog form a group about a 
brushwood fire they have built on the roadside, and are 
interrogated by a traveller on horseback. The scene is 
laid at sunset on the Roman Campagna. Warm and 
rich in color. 

Signed at the left. Dated, 1863. 


Height, 18 inches ; length, 24 inches. 


G. KUHL 


A painter of the Munich school, with a predilection 
for medizval subjects and costume genre. 


{27 — Courtship Sand ZZ7- LoL 


A maiden sits on a bench on a terrace, and a young 
man standing beside her, with one knee on the seat, is 
pressing his suit. Beyond are garden walls and the 
towers of a castle. The costumes indicate that the 
scene is laid in the time of Albert Diirer. 


Signed at the left. 
Height, 31 inches; width, 16% inches. 


89 


4) ¢ 


JVI 


_a pupil in Paris of Munkacsy. 


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CHARLES BOMBLED 


Born at Amsterdam and a pupil of Schmidt, Charles 
Bombléd is best known by his military subjects, espe- 


cially of the French army. es 
bhat offen 


128 — Wagons in Snowstorm 


Two covered wagons are caught in a driving storm 
which drifts over the wheels and forces the horses to 
turn their backs to the cutting wind. The drivers are 
busy trying to make everything as snug as possible 
during their enforced halt. 

Signed at the right. Dated, 1877. 


Height, 19 inches ; length, 27 inches. 


BRUCK-LAJOS 


The genre pictures of Bruck-Lajos are the product or | 
varied and extensive study. He was born at Papa, in 
Hungary, in 1846, and began his art career as a student 
in the Vienna Academy. From 1869 to 1872 he studied 
in Italy, especially at Venice, where he was for a short 
time in the schools of the Academy. Later he became 


‘ ¢ 


{29 — Christmas Time — ee (ae : 
n watching 


A Hungarian interior with a party of childre 
a young girl who is building on a table a house of 
cards. At the left, in the corner of the room neara 
window, are a man and a woman reading a letter. A 
characteristic example of a celebrated pupil of Mun- 
kacsy, who has made a high reputation for himself as a 
painter of genre and scenes of peasant life. 

Signed at the left. 

Height, 3134 inches ; length, 39 inches. 


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aes 


GEORGE HENRY YEWELL, N.A. 


This American painter of landscape and still-life was 
born in Havre de Grace, Md., in 1830. After studying 
for a while with Thomas Hicks, he proceeded to Paris 
and placed himself under Couture, afterward residing 
for several years in Rome. He was elected an Acade- 
mician of the National Academy in 1880, 


130 — Turkish Carpet Bazaar 


Three rug-merchants in a Moorish courtyard, where 
their wares are spread about on the benches and flag- 
ging. Warm in general tone, with careful study of archi- 
tectural forms and ornament. 

Signed at the right. Dated, 1878. 


Height, 25 inches; width, 18 inches. 


AUGUSTE TOULMOUCHE 


Piquant scenes from daily life, executed with much 
vivacity and great skill in the renderings of satins and 
velvets, have occupied the brush of Auguste Toul- 
mouche. He was born in Nantes, 1829, became a 
pupil of Gleyre, and has gained many medals, as well as 
the red ribbon of the Legion of Honor. 


131 — Confidential Revelations 


Two young women, one in blue and the other in 
white morning costume, are walking through the gar- 
den of a chateau, the walls and windows of which are 
seen on the left. They seem to be exchanging con- 
fidences, and are taking their promenade arm-in-arm. 

Signed at the right. Dated, 1877. 


Height, 26 inches ; width, 18 inches. 
oI 


4, 4 Ht 


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al. 


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JEAN LOUIS ERNEST MEISSONIER 


Only fifteen years old when he arrived in Paris, Meis- 
sonier, after a few months’ study with Léon Cogniet, 
turned to the study of the old masters, especially the 
Dutch, whom he learned to surpass in skill of detail, 
although he never became their equal in color. With- 
out poetic temperament or large pretensions towards 
the ideal, he won his way to fame by conscientious, in- 
cessant toil. He had, as Albert Wolff has said, ‘‘the 
sincerity and wonderful determination of a man who 
leaves nothing to chance; who never loses sight of 
nature, and who makes no account of time when it be- 
hooves him to carry on a work to the pitch of perfec- 
tion which the artist desires.” Yet, while untiring in 
his accurate rendering of the material part of his pic- 
tures—the costumes, architecture, bric-a-brac—he re- 
veals also the very spirit of the scene, with a wonderful 
power of establishing a central motive in his pictures 
which strikes the eye at once and holds fast the imagi- 
nation. And these qualities are as noticeable in the 
smallest panel as in those large compositions treating 
the epic of the First Empire, of which ‘The Retreat 
from Russia in 1814” is the masterpiece. He was the 
recipient of the highest honors in his own country; a 
member, also, of the Munich Academy, and honorary 
member of the Royal Academy in London, and of 
others. He died January 31, 1891. 


132. Annee ae Mi baked 


A horseman with white waistcoat, snuff-colored coat, 
buff breeches, black leather boots, and cocked hat, 
mounted on a fine bay horse, has stopped on a narrow 
country road which passes through an orchard to put 
his hand in his pocket and give a coin to a poor bare- 
footed woman with a baby in her arms. One of the 
few pictures by Meissonier in which a woman is de- 
picted, and a well-known and very remarkable ex- 
ample. 

Signed at the right. Dated, 1874. 


Height, 24 inches; width, 18 inches. 
92 


(Water Color) 


The famous cabinet portrait painted in water color 
by Meissonier for the late A. T. Stewart. It shows the 
great artist in full face, with his divided, flowing white 
beard and the bust covered by a loose coat of brown 
velvet. An admirable likeness and a historical picture. 

Signed at upper right. Inscription, “a M. Stewart 


Souvenir Affectueux.” 
Height, 8% inches ; width, 61%4 inches. 


FLORENT WILLEMS 


It was by the study of the old Dutch masters that 
Florent Willems formed himself, and to such purpose 
that he attracted attention as early as 1840, when only 
seventeen years old. Four years later he exhibited his 
**Visit to Young Mother,” in Paris; and its success in- 
duced him to settle there. Medals followed in succes- 
sion, and in 1851 he was made an Officer of the Order of 
Leopold, receiving the Legion of Honor two years after 
and reaching Commander in 1878, 


134 — The Portrait 


A stately beauty with dark hair, clad in a costume of 
white satin with low-cut bodice, and her shoulders 
covered by an embroidered satin cape, stands before a 
table on which there is a mirror, and examines a minia- 
ture. A carved arm-chair with crimson cushion, a large 
picture by Teniers on the wall, and the white linen 
open-work table cover are among the accessories. A 
dignified and elegant genre picture. 

Signed at the left. 

Height, 26 inches; width, 19 inches. 


93 


Ase 


FERDINAND WAGNER 


This Bavarian painter, born at Schwabmiinchen in 
1819, studied at the Munich Academy under Cornelius, 
Schnorr, and Schlotthauer. Returning to his native 
town in 1848, he painted historical subjects and received 
commissions from many churches throughout Bavaria. 
He died at Augsburg in 1881. 


135, — Gathering Flowers 2 Ge 


A full-length figure of a handsome young woman in 
German costume of the time of Charles Quint, com- 
posed of green velvet and satin, stands in a woodland 
path, while she plucks some wild roses which grow on 
a vine clinging to a slender tree-trunk. 


Signed at the left. 
Height, 26% inches; width, 15% inches. 


A. LAUPHEIMER 


A Munich painter of domestic genre. i> Pat | 


136 — State Secrets 


A watchman with a halberd over his shoulder is : 

seated on a bench talking to a tall member of his guard, | 
and a dog sits before them on the brick floor of the | 
vaulted cellar, where the scene is laid. The watchman 
wears a great three-cornered hat and dark green cloak 
with a wide cape. He crooks his forefinger as he reveals 
some, to his mind, weighty secret to his companion. 
The latter is a dull-looking fellow in a blue coat, who 
holds a china-bowl pipe in his hand and seems to be- 
lieve every word Dogberry is saying. 

Signed at the right. Dated, 1876. 


Height, 26 inches ; width, 18% inches. 


94 


JEAN GUSTAVE JACQUET 


At the age of twenty, Jean Gustave Jacquet exhibited 
his first picture at the Salon. Two years later he gained 
a medal, and was awarded the Legion of Honor in 1879. 
Commencing as a historical painter, he has become a 
recognized master in the delineation of piquant femi- 

v nine beauty. o 


| “Gy, r 
a ve ett ae 
t 137 — Head of Young Girl —~ 

| A lovely face framed in by blond ringlets. Over the 

shoulders a cape lined with black velvet, with the collar 

turned up. A pink and awhite rose at the neck form 


charming color notes. 
Signed at the left centre. Dated, 1879. 


Height, 25% inches; width, 21 inches. 


EMIL AUGUSTE PINCHART 


: Born at Cambrai, a pupil of Géréme, this painter has 
. f divided his time between history, genre, and portraits, 
which on several occasions have been awarded medals. 


40 ESD 
oe 138 — Feeding the Birds ee 


In this picture a blond young woman, in fanciful 
costume composed of parti-colored stuffs, is standing 
before an aviary watching a multitude of bright-plu- 
maged little birds which she has been feeding from a 
straw basket which she holds in her hand, The setting 
for the figure is a corner of a Roman courtyard, and 
the warm gray tints of the stone walls and the green 
leaves of plants contrast effectively with the colors of 
her dress. 

Signed at the left. Dated, 1875. 


Height, 34 inches; width, 22 inches, 
95 


7° 


CHARLES BAUGNIET 


A collection of three hundred lithographed portraits 
first established the reputation of Charles Baugniet. 
He was born in Brussels in 1814, and became the pupil 
of J. Paelinck and M. F. Willens. After residing several 
years in England he established his studio in Paris, 
spending, however, a considerable part of his life in 
Sévres ; dividing his attention between genre and por- 
traits. A considerable number of his pictures exist in 
the private collections of this country. 


139 — Blind Man’s Buff Mellen 


This is a party of blind man’s buffin which the players 
are all young women. There are eight of them, and 
while five are crowding together on a sofa at the right 
at the approach of she who is “It,” a charming figure 
in gown of white and pink, two others are seen near a 
table on the left. One of these last leans over the back 
of a chair and calls out to draw the blinded young 
woman to that side of the room. A pretty scene and 
an admirable piece of genre. The salon in which the 
party is going on is hung with tapestries. 

Signed at the right. Dated, 1875. 


Height, 36 inches; length, 50 inches. 


96 


WILLIAM ADOLPHE BOUGUEREAU 


Though known to art-lovers as the painter of children 
and dainty girlhood, Bouguereau is a man of iron reso- 
lution and indomitable will. While a store-keeper’s 
assistant in his native city of La Rochelle, he spared 
two hours a day to attend the art-school in Bordeaux, 
and with such success that in 1842 he won the prize of 
the year. This decided him to be an artist ; and, throw- 
ing up his employment, he went to live with his uncle, 
a priest in Saintonge, where he painted portraits of 
the townsfolk for a few francs. Having saved a little 
capital of nine hundred francs, he proceeded to Paris, 
entered the studio of Picot, and later was admitted to 
the Ecole des Beaux-Arts. He lived by incredible shifts, 
finally receiving some small help from his family, until 
in 1850, at the age of twenty-five, he won the Prix de 
Rome. This was the turning-point of his fortunes. 
After four years’ stay in that city he returned to Paris, 
and at once secured recognition. Among other works, 
important commissions for mural paintings in public 
buildings were intrusted to him, as, for example, the 
decoration of the foyer of the theatre at Bordeaux, in 
which he executed Apollo and the Muses. In the face 
of the reaction against classicalism he has remained a 
classicist, and his technical knowledge is so profound, 
his skill so masterly, that he has been able to survive 
the onrush of the naturalistic tide. With inflexible 
determination he has stood his ground in the midst of 
the critical battle that has been fought over him, and 
has established his reputation for: being one of the 
greatest draughtsmen of the nude that ever lived. 


140 — The Little Sufferer 


A pretty little girl with blond hair, bare-armed and 
bare-legged, has seated herself on the grass while she 
binds a cloth around her ankle, which she has cut or 
hurt in some way in her ramble through the wood. 
Her upturned face shows pain in its expression, but it 
is very sweet and attractive. Of course, the figure is 
admirably drawn and the color scheme is sympathetic. 

Signed at the left. Dated, 1879. 

Height, 38 inches ; width, 29 inches. 


7 97 


Bia Chat hang kios Ver 


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JEAN BERAUD 


Born in St. Petersburg of French parents, and a pupil 
of Léon Bonnat, Béraud made his first successes by 
spirited and truthful rendering of every-day scenes for 
the illustrated journals. Pictures involving similar 
subjects followed, as well as portraits, which obtained 
him a good standing. In 1882 he won his first medal 
at the Salon. His latest and most distinguished man- 
ner has been the painting of Scripture subjects, set in 
modern surroundings. They have aroused controversy 
through their tendency to sensationalism, yet they dis- 
play such remarkable technical skill and power of 
characterization that the impression made by them 
was too strong to be gainsaid. 


144 — Condolences +¥ 


A characteristic episode in Parisian life. Inside the 
church near the doorway the men of the family of the 
person whose funeral is taking place stand in line to 
receive the condolences and sympathy of friends as they 
pass out after the services. Through the open door, 
where the bright winter light streams in on the stone 
floor, a view down an avenue appears, with cabs, omni- 
buses, and people hurrying along. On the steps are 
groups of people who have just left the church. The 
personages on the right of the composition are in the 
sombre shadow of the interior, but are all admirably 
characterized. One of Béraud’s best pictures, and, as 
a consequence, a remarkable piece of painting and a 
fine example of modern genre. 

Signed at the right. Dated, 1879. Salon number, 


222. 
Height, 25 inches; length, 31% inches, 


98 


P 
' 


CHARLES EMILE JACQUE 


His early training as an engraver of maps may have 
given Charles Emile Jacque his accuracy of drawing, as 
his love of poultry, pigs, and sheep and of rural scenes 
was certainly the reason of his intimate knowledge of 
these subjects ; but the poetic feeling which made him 
a worthy compeer of the rest of the Barbizon-F ontaine- 
bleau group was a gift more inspired. His skill as an 
etcher also contributed to his power in composition, in 
texture, and the massing of light and shade; for his etch- 
ings won him reputation before his paintings, and to-day 
his fame rests securely on both mediums. Though born 
in 1830, it was not until 1861 that his painting first won 
recognition at the Salon, but after that his popularity 
grew Steadily until, in the later part of his career, it 
was almost phenomenal. Yet he never yielded one 
iota of his art ideals to pamper this popularity; his 
pictures, though homely in subject, are never prosaic— 
his treatment is always guided by a fine artistic feeling. 
Their popularity, therefore, besides being a triumph for 
the painter, has been a tribute to the judgment and 
taste of his patrons. He died in 1893, wealthy and 
honored, and the sale of his studio collection in Paris 
produced the noteworthy return of 600,000 francs. 


142 — Sheep in the Woods ee 


Passing along over the pastures at the edge of a wood 
where great trees cast dark shadows on the grass is a 
flock of sheep guarded by a shepherd with his dog. A 
characteristic composition, with rich color effect. 

Signed at the left. Dated, 1879. 


Height, 28% inches ; length, 39 inches. 


99 


FLORENT WILLEMS 


It was by the study of the old Dutch masters that 
Florent Willems formed himself, and to such purpose 
that he attracted attention as early as 1840, when only 
seventeen years old. Four years later he exhibited his 
“Visit to Young Mother,” in Paris ; and its success in- 
duced him to settle there. Medals followed in succes- 
sion, and in 1851 he was made an Officer of the Order of 
Leopold, receiving the Legion of Honor two years after 
and reaching Commander in 1878, “Tea 


~~ 
MA? J43 — Dressing the Bride a Pe 


A delightful example in Willems’s best style. The tall 
figure of the beautiful bride stands with a small mirror 
in her hand watching her companion, or maid of honor, 
who is adjusting her veil. Her gown is of white satin, 
while that of her attendant is pink. An open coffer, 
carved, painted, and gilded, stands near in the right 
foreground, and tapestries, a canopy, and a chair with 
red velvet cushion constitute the accessories to this 
charming group of two pretty women. 


Signed at the left, 
Height, 25 inches; length, 18 inches. 


J. JANSSEN 


A landscape painter whose favorite subjects are drawn 
from the borderland of France and Belgium. 


/bo het lewd 


144 — Landscape in Ardennes 


A brook with ducks in the foreground. A group of 
tall stately trees and asky of blue and white. Truthful- 
looking in effect and pleasing in color, 

Signed at the left. Dated, 1882. 


Height, 31% inches; width, 23% inches. 
I0O 


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70 


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- principally in dreamy idling. The sea fills the middle 


2 oh ee eee Wg 3d ow 
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WILLIAM A. SHADE 


An American painter of domestic genre, of the Munich 
school. 


, G™ O 
Be eine Sot Kk SF. Ae22ell— 


A young mother, richly gowned in gray satin and gold 
brocade, with a lace ruff, is sitting beside a table 
covered with dishes of fruit, holding her pretty baby in 
her lap. The child is struggling to reach a bunch of 
grapes which the mother holds just beyond its reach. 
A splendid black and white marble chimney-piece, 
tapestried walls, pictures, and hangings form the setting 
for this pretty bit of domestic life. 

Signed at the left. 


Height, 32 inches; length, 24 inches. 


EDOUARD TOUDOUZE 


A pupil of Auguste Leloir and Pils, Toudouze won 
the Prix de Rome in 1871. Frequent medals have been 
awarded to his historical and genre pictures. He was 


born in Paris in 1844. g 4 
146 — La Plage d’Yport (Seine Inférieure) : 


A party of ladies and children on the beach. They 
are whiling away the morning in various ways, but 


distance, and the sky is almost entirely covered in with 
white clouds. A stone pier jutsout fromthe right. An 
important and excellent picture. It is very agreeable 
and very truthful in color, well composed, and painted 
with extraordinary skill. 

Signed at the right. Dated, 1878. Salon number, 
2146. 


: 
Height, 43 inches ; length, 73 inches. 
IoI 


DON LUIS ALVAREZ 


Born at Madrid in 1841, in narrow circumstances, 
and early left an orphan, Alvarez contrived to secure 
entrance into the Academy, and, encouraged by his 
master, Federico Madrazo, made his way to Rome, 
though almost penniless. His first picture, exhibited in 
Florence in 1861, obtained a medal, and was purchased, 
when he brought it to Madrid for exhibition, by Queen 
Isabella, who also gave him a pension to enable him to 
continue his studies. Returning to Rome, he received 
royal favor and government commissions, and has been 
one of the most influential men in shaping the present 


Spanish school of art. 
byt Veil 
147 — The Cardinal’s Reception 


The scene passes in a splendid apartment of the Royal 
Palace, Caverta, near Naples, the walls decorated with 
fresco paintings and gilding, and the Cardinal’s crimson 
canopied throne in the centre. He has risen from his 
seat to receive a lady who stands before him with a little 
boy. On either side of the central group are other visitors 
seated on chairs and sofas chatting. Screens enclose 
this part of the apartment, reserved for the intimates of 
the prince of the Church. Behind the one on the right 
of the picture are two sisters and an abbé admiring some 
jewels and bric-a-brac placed on a table. At the left 
a lackey in gorgeous livery is bowing out two hooded 
monks, The costumes are of the time of the Directory. 
Brilliant in color and exceedingly clever in execution. 

Signed at the right. Dated, Rome, 1877. 

Height, 25 inches; length, 46 inches. 


I02 


FELIX ZIEM 


In the earlier stages of his career, Ziem painted many 
fine pictures of French, Dutch, and Turkish scenery ; 
but it was in Venice that he discovered the true bent 
of his genius. While Rico has painted Venice in the 
broad glare of sunlight, Ziem has translated into paint 
the sun-risings and evening light upon the lagoons with 
a wealth of color and splendor of imagination that have 
won him world-wide reputation. A native of Beaune, 
where he was born in 1821, he passed through the art 
school at Dijon, and began to develop his power by 
wanderings in the south of France. A Dutch scene 
secured him his first medal in the Salon of 1851, and 
views of the Golden Horn and of the Piazza of St. Mark 
in 1857 were rewarded with the Legion of Honor. He 
was made an officer of the Legion in 1878, 


py eae 


148 — Overlooking the Bosphorus 


In the shadow of a great Moorish archway, with a 
balcony overlooking the Bosphorus and the roofs, 
-domes, and minarets of Constantinople, are two young 
Turkish women seated on rugs and making music with 
a lute and a tambourine. An attendant eunuch leans 
against the wall at the left and holds in his hand a 
feather fan. An unusual motive, painted by Ziem with 
his characteristically brilliant color. 

Signed at the left. 


Height, 29 inches ; width, 21 inches. 


103 


L4b 


CHARLES BAUGNIET 


A collection of three hundred lithographed portraits 
first established the reputation of Charles Baugniet. 
He was born in Brussels in 1814, and became the pupil 
of J. Paelinck and M. F. Willens. After residing several 
years in England he established his studio in Paris, 
spending, however, a considerable part of his life in 
Sévres ; dividing his attention between genre and por- 
traits. A considerable number of his pictures exist in 
the private collections of this country. 


| 
; 
| 


149 — Wintertime heerge WU Cavang 


A group of three ladies in a finely furnished apart- 
ment. One, in a gown of white satin with a cloak of 
blue velvet trimmed with white fur, reclines in a chair 
before the fireplace, her hands clasped over her knee. 
Another, whose expression is bright and piquant, 
dressed in red velvet trimmed with gray fur, with toque 
to match, is a visitor, and stands by the mantelpiece 
while she holds back her gown and warms her dainty 
foot. The third member of the group, in a brown house- 
dress, leans over the back of a chair turning the leaves 
of a book. An attractive picture, with the charm of 
feminine friendship well expressed. 

Signed at the left. Dated, 1876. 


Height, 33% inches; width, 26 inches. 


104 


‘ 
ee a 


HENRI CHANET 


This portrait painter was a pupil of Bonnat. 
2 
Ge The Bithday OO 7S 


A lady with a carriage dress of dull crimson and 
bonnet of the same color with white ribbons is seated in 
an arm-chair looking at the jewels her hostess, in gray 
and white, is showing her, while a little girl in light 
blue frock stands near with a doll in her arms and 
dragging behind her a little wagon heaped up with 
toys. 

Signed at the right. Salon number, 455. 


Height, 32 inches; width, 26 inches. 


JOSEPH MARIA AUGUSTE GABRIEL : 
FERRIER : 


Ferrier won the Prix de Rome in 1872. His experi- 
ence in Italy fitting in with his bent of mind, led him 
to historical subjects, occasionally varied with portraits ; 
works of sufficient importance to gain several medals 
and the Legion of Honor. He was born at Nimes in 


A347. S an a 
151 — Thoughts of the Absent 


A three-quarters-length life-sized figure of a young 
woman in a Marguerite costume of blue and white 
seated in a chair with high, carved back. Her head 
rests pensively on her hand, and on her kneeshe holds a 
book at a page marked by a faded pansy. An attrac- 
tive picture painted with great skill. 

Signed at the left. Dated, 1879. 


Height, 55 inches ; width, 31 inches. 
105 


VICTOR PIERRE HUGUET 


Foremost among living painters of Oriental life and 
scenery, Huguet has practically made his home in 
Algiers since 1861. His first Algerine picture, ex- 
hibited in 1866, was bought by the French Government, 
and since that time his works have been acquired for 
the local art museums of all the greater French cities. 
Having served fora time in an architect’s office, he 
entered the Marseilles Academy, where Loubon, the 
friend of the Barbizon painters, was his teacher. He 
spent a year in Egypt, and then accompanied Durand- 
Brager to the East, serving with him also upon the 
fleet during the Crimean War. He was born in 1839. 


{52 — Trying the Falcons LZ é. Aelee "| 


Half a dozen Arab chiefs in the foreground, with their 
horses and falcons. One has just cast off his bird and 
looks up to the sky to watch his flight. The landscape, 
with its hills in the distance and high sky of blue and 
white, is evidently in Algeria or Morocco. An impor- 
tant and very meritorious example of the work of a 
painter whose subjects are similar to those of Fromen- 
tin, but whose personal methods distinguish all of his 
pictures. 


Signed at the left. 
Height, 33 inches; width, 26 inches. 


106 


FIRMIN-GIRARD 


The favorite pupil of Gleyre, was born at Poncin in 
1838. Under his master’s suggestion he adopted a style 
of light genre subjects, which he treats with freshness 
of color and remarkable refinement. ‘The Flower 
Girl,” sold at the dispersion of the Stewart Collection, 
is remembered as a picture which, to quote one of Fir- 
| "4 min-Girard’s admirers, “has placed his reputation on 


an enduring basis,” 
J . 
F20-s53 The Old, Old Story © ne Ae 


A cavalier, in Louis XIII. costume of ruby velvet, 
boots, and gray hat with light blue plume, is seated on 
a moss-covered rock in the forest at the edge of a pool 
formed by the waters of a stream which comes tum- 
bling down in a series of cascades inthe ravine in the 
background. At his side stands a beautiful lady, lean- 
ing against another great boulder, her head slightly 
averted as she listens blushingly, but with a pleased 

_ expression, to the words addressed to her by her lover. 
Her costume is mouse-colored velvet with pink satin 
front, and her blond head is crowned by a light felt hat 
with pink and white feathers. An important, repre- 
sentative work. 

Signed at the right. Dated, 1878. 


Height, 32 inches ; length, 25 inches, 


107 


FREDERIK HENDRIK KAEMMERER 


Many collections in America possess examples of the 

work of this landscape and genre painter, who was a 

/ pupil of Géréme, and gained his first Salon success in 
1874. 


foe Mt Harvtieivece 


{54 — The Croquet Party 


A scene in a delightful garden enclosed with a high 
stone-wall. In the middle plane, a wrought-iron gilded 
gateway. A party of people in modern costume are play- 
ing croquet on the level space in the foreground, and 
others sit about in shady corners chatting or reading the 
newspapers. The effect is in sunlight, and the greens of 
the shrubbery and trees form a harmonious setting for the 
light tints of mauve, pink, and white which compose the 
dresses of the women and men. An important and ex- 
cellent example, painted with Kaemmerer’s accustomed 
skill. 


Signed at the left. 
Height, 43 inches; length, 79 inches. 


A, HUMBORG 


he A Munich painter. Apt ob-parvrele 


155 — Monks Preparing for a Feast 


The Abbot, seated in his chair beside a table covered: 
with fruits, patés, and bottles of wine, is giving direc- 
tions to a serving-man who is emptying a basketful of 
fish into a tub of water, while in the background two 
monks who are in charge of the kitchen look on with 
expressions denoting their interest in the proceedings. 
The figures are well characterized and the still-life is 
finely painted. The tone of the canvas is agreeably 
warm and colorful. | 


Signed at the right. 
Height, 40 inches ; width, 32 inches. 


108 


ADOLPH ALEXANDRE LESREL 


A pupil of Géréme, Lesrel has painted historical sub- 
jects, and been successful also in portraiture, but is chiefly 
popular for his genre pictures of the Renaissance period, 
with rich costumes and accessories. 


156 — The Game of Cards 


Three men in Louis XIII. costume grouped about a 
table covered with a green velvet cloth. Two are play- 
ing cards, while the first watches their game. A page 
is entering the room, through a door at the right draped 
with damask portiéres. Rich and effective in color and 
soundly painted. 

Signed at the right. Dated, 1877. 


Height, 33 inches; width, 45 inches. 


PAUL VIRY 


Delicacy of tone and elaboration of detail characterize 
the genre subjects of Paul Viry, who was a pupil of Picot. 


o 2D. 46. ApheML io 
157 — Onthe Terrace 


A cavalier in a costume of gray and white satin and vel- 
vet, and a lady in a long-trained gown of pink, are with 
their dogs ona sort of terrace or porch which juts out into 
a great fountain basin. Twogreat ducks are rising from 
the water in the foreground and the lady is feeding a 
pair of doves which fly about her. An important ex- 
ample of Viry. 

Signed at the left. Dated, 1879. 

Height, 30 inches ; width, 24 inches. 
109 


27¢ 


JAC LEISTEN 


A genre painter of the Ditisseldorf school. 


$58 — Grandma’s Birthday 


The matronly grandmother seated near a table 
receives the greeting of three little children while her 
daughter holds in her arms the youngest of her de- 
scendants, a baby in white robes with a pink ribbon, 
The apartment is furnished in Empire style. 

Signed at the left. Dated, Diisseldorf, 1878. 


Height, 30 inches ; width, 25 inches. 


LOUIS BEROUD 


Known chiefly as a painter of historical subjects, 
Louis Béroud, a native of Lyons, studied successively 
under Gourdet, Bonnat, and Lavastre, and gained his 


first medal at the Salon of 1883. 
Men Tang ht 
159 — La. Place St. ag 


The view of the famous old church shows the great 
fountain as the chief point of interest. The church 
itself looms up in the background, with its light gray 
towers bathed in sunlight, in contrast to the sky of blue 
with white clouds. In the immediate foreground atthe 
right in the shade of the trees is a florist with her potted 
plants and bouquets displayed on the pavement. Groups 
of people are walking about, and a sergent de ville 
stands on the right near the fountain basin. The 
architectural work is extremely well done and the 
general effect is striking. 

Signed at the right. Dated, 1880. 


Height, 59 inches ; width, 45 inches. 
IIo 


HENRY SHOUTEN 


A cattle and landscape painter of some repute. 


160 — Cattle and Landscape ae ZC 


A fine black and white bull in the foreground, with a 
cow with a yoke on her neck to prevent her from jump- 
ing fences. Beyond in the flat meadows, a herd of 
cattle grazing. Sky of gray clouds with a small patch 
of blue. Strongly painted and delicately “ golden” in 
general tone. 


Signed at the left. 
Height, 25 inches ; width, 37 inches. 


RICHARD ANSDELL 


This English painter of animals was self-taught, his 
style being founded upon a close study of Landseer. He 
was born in Liverpool in 1815, exhibited for the first 
time at the Royal Academy in 1840, and died in 1888. 
During the period between 1850 and 1860 he collaborated 
with Creswick, who supplied the landscape setting to 
his studies of domestic animals. 


161 — Water Carriers 


A Spanish scene, with the towers ofthe Alhambra in 
the distance. Down the steep pathway coming into 
the immediate foreground is a water carrier with his 
two white donkeys loaded with earthen jars. The boy 
riding one of his beasts turns his head to look at a young 
girl who stands leaning against the stone wall on the 
right, her tall water jar beside her. Picturesque and 
effective. 

Signed with initial at the right. Dated, 1860. 


Height, 60 inches; width, 37 inches. 
IIl 


“oe 


few 


ETIENNE ADOLPH PIOT 


L. Cogniet was the master of Etienne Adolph Piot, 
whose genre subjects, while slight in conception, are 
always pleasantly treated. 


{62 — The Toilet Learge. : y 


Half-length picture of a young woman with dark hair 
holding a hand mirror in her right hand, while the left 
is gracefully posed on her breast. The costume is com- 
posed of a white under-bodice and a black lace mantilla. 
Full and simple in execution and very agreeable in color. 

Signed at the right. 


Height, 32 inches; width, 25 inches. 


BALDOMERO GALOFRE 


In 1870 Baldomero Galofre arrived in Madrid with 
six francs in his pocket and two portfolios of sketches, 
the result of his study under Ramon Marti. He was 
employed as adraughtsman on the //lustracion Espa- 
hola y Americana till 1873, when he won the Prix de 
Rome. He is practically self-taught in art, and is ex- 
tremely independent and exclusive in his habits. He 
works in Rome and occupies a leading position among 
modern Spanish painters. 


ie 
163 — The Bird Charmer A dethor 


Reclining on a couch in a single garment of white is 
a young woman amusing herself with three pet birds 
which come at her call and perch on her hands. A 
great yellow curtain and a jar filled with fluffy dried 
grasses, a richly wrought wall-hanging and a piece of 
light blue drapery, are the principal accessories. 
Signed at the right. Dated, Rome, 1875. 


Height, 37% inches; width, 25 inches. 
II2 


HENRY SHOUTEN 

me repute. 
oy ee ee 
164 — Cows in Pasture ~<a 


A white cow with tawny neck and head stands in the 
foreground near another with dark red coat and white 
face. Beyond on the hilly pastures are cattle grazing, 
and in the distance, on the right, a glimpse of the sea. 
A fine piece of cattle painting, with attractive color 
aspect. 

Signed at the left. 


A cattle and landscape painter of so 


Height, 25 inches; width, 37 inches. 


CHARLES LOUIS MULLER 


Distinguished from his many namesakes as Miiller of 
Paris (for he was born there in 1815), this skilful his- 
torical and portrait painter was a pupil of Cogniet, 
Gros, and the Ecole des Beaux-Arts. Medals of the 
first, second, and third class were awarded him; the 
Legion of Honor in 1849; the further rank of Officer in 
1859, while in 1864 he was made a member of the In- 
stitute. 


Zur 
“ 165 — Maiden Meditation SO Rie Hhecgae 


A three-quarters-length life-sized figure of a young 
girl in costume of blue and red standing in the woods 
in a pensive attitude, her chin resting in her hand. At- 
tractive in type, agreeable in color, and ably painted. 

Signed at the left. 


fb, siermerseemaay 


Height, 39 inches ; width, 28 inches. 
8 113 


Low 


F, LOUIS PICART 


A painter of humorous genre. 


166 — Une Affaire Jugée “ss 


Two young monks, staves in hand, who have been 
walking on the beach, have found an oyster and, disput- 
ing as to which has the right to eat it, called in a lawyer 
to decide. The lawyer in the picture stands between 
the two monks, and has settled the dispute by eating 
the oyster himself, while he hands to each contestant a 
half of the shell. 

Signed on the right. Dated, 1853. 


Height, 31 inches; length, 38% inches. 


E, ATALAYA 


Atalaya pursued the path of many Spanish painters, 
sojourning for a time in Rome and then settling in 
Paris. 


ee ee a ee a = 


167 — Love Laughs at Locksmiths 


A Spanish gallant has piled up a lot of books ona 
garden bench below a grilled window, which affords 
him a footing high enough to reach his lady-love, who 
is behind the bars. The bars, too, are wide enough 
apart for their faces to come close together, so that 
the lovers are not so badly off. The sunlight casts 
shadows under the vines which climb up the wall and 
over the window, and the color is bright and attractive. 

Signed at the right. Dated, Paris. 


Height, 29 inches; width, 17 inches. 
114 


RAYMUNDO DE MADRAZO 


A Spaniard living in Paris, Madrazo has been 
claimed by both France and Spain, and yet contrived 
to be independently himself. He was born in Rome in 
1841, and baptized in St. Peter’s. His father, Federico, 
the head of the Madrid Academy, was his first in- 
structor ; and when he died in 1859, the son proceeded 
to Paris, to become a student of the Ecole des Beaux- 
Arts, and later to place himself under Léon Cogniet. 
His first appearance at any exhibition was in the Salon 
of 1878, when his work received a first-class medal and 
the ribbon of the Legion of Honor. Since then “he 
has permanently impressed his students, variously ut- 
tered his aims as a modernist of power, and charmingly 
invested his life in his friends.” 


168 — The Album A Gorvige 


Half-length picture of a pretty young woman with 
white wrapper trimmed with pink ribbon bows, seated 
in a cushioned arm-chair of light blue. In her lap lies 
an open photograph album and she holds in her hand 
one of the pictures, which she has drawn from its place, 
while a smile flits over her face at some agreeable 
recollection. A characteristic example. 

Signed at upper right hand. 


Height, 32 inches; length, 25 inches. 


115 


LES 


Ys 


UNKNOWN 
Kank 
{69 — Tasso Entering the Monastery 


The poet, in a dark costume and long cloak, is enter- 
ing the doorway of the monastery accompanied by a 
gentleman with blue cloak and a red cap ornamented 
with a white plume. The monks are standing in the 
hall ready to receive the party, and one of them extends 
his hands in a welcoming gesture. The bright sunlight 
outside contrasts effectively with the sombre shadows 
within. A very well-composed picture, excellent in 
execution and dignified in aspect. 


Height, 54% inches ; width, 40 inches. 


LEON BRETON 


A painter of marines and coast pieces, Léon Breton 
was a pupil of Ulysse Butin. He has always lived in 
Paris. 


{70 — The Morning Ride Lengs ve 


A young woman in a pretty costume of pink, with 
straw hat trimmed to match, mounted on a black donkey 
which she has ridden down to a spot on the grass-covered 
cliffs overlooking the sea. The figure and the donkey’s 
head are effectively relieved against the wide expanse 
of the ocean, which lies smooth and pale bluish-green 
under a morning sky filled with white clouds. Charm- 
ing in aspect and good in color. 

Signed at the left. Dated, 1881. 


Height, 64 inches ; width, 50 inches. 
116 


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FIRST AFTERNOON’S SALE 


Tuesday, February 13th 


Peete AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O’CLOCK 


MISCELLANEOUS BRIC-A-BRAC AND 
CERAMICS 


200 RoyvAL WORCESTER VASE. 
Basket design. Ivory finish, with relief 
ornamentation of floral designs in em- 


bossed gold and platina. 
Height, 8 inches. 


201 PAIR RovyAL WORCESTER STATUETTES, 
Arabian warrior and companion. Dec- 
oration in colors and gold. 
Height, 9 inches. 
202 ‘THERMOMETER. 


Carved walrus ivory. Figure of Esqui- 


maux and dog in relief. 
Height, 9 inches. 


203 STATUETTE. 
German porcelain, “Contentment.” 
Height, 8 inches. 
1i9 


u *. te ele i hd OO a Lh 


204 


205 


206 


204 


208 


209 


210 


211 


PAIR VASES. 
Ruby glass. Morning-glories and chrys- 
anthemums in enamelled gold and colors. 
Height, 12 inches. 
CIGAR-STAND. 


Berlin porcelain. Figure of Cupid in 
relief, 


PAIR STATUETTES, 
Royal Worcester. Egyptian water-car- 
riers. Decorated in delicate tints and gold. 
Height, 10 inches. 


PAIR COVERED VASES. 

French pdéte-tendre. Miniature portraits 
of Napoleon and Josephine. Turquoise- 
blue glaze with chased gold ornamentation ; 
gilt-bronze mountings. 


Height, 12 inches. 


OvirorM VASE. 
Webb cameo glass. Flowers and butter- 
fly in ruby tints on frosted ground. 
Height, 10 inches. 


PITCHER VASE. 
Doulton faience. Floral decoration in 
finely combined colors on_ ivory-white 
ground. 


Height, 17 inches. 
VASE. 
Cylindricalform, English faience. Rich 
Jeypore decoration. 
Height, 11% inches. 


DOULTON EWER. 


Decoration of flowers and vines in 


natura! colors. 
Height, 15 inches, 


I20 


CutT-FLoweEr DIsuH. 
Royal Belleek. King’s-blue glaze. Or- 
namentation in gold and colors. Lion’s 


head ornaments, 
Diameter, 9% inches. 


VASE. 

Ovoid form, flaring neck and _ base. 
Japanese cloisonné enamel on copper. Jet- 
black ground, with ornamentation of ram- 
pant dragons in finely combined colors, 


Height, 15 inches. 


VASE. 
Fisher & Meigs, Carlsbad. Bottle- 
shaped. Rich decoration of floral designs 


on ivory glaze. 
Height, 11% inches. 


Pair VASES. 
Crown Derby. Globular bottle-shaped, 
with scroll handles. Canary-yellow glaze; 


gilt decoration. 
Height, 9% inches. 


BOTTLE-SHAPED VASE. 


Chinese porcelain. Sang-de-beuf glaze, 


gray crackle at neck. 
Height, 16 inches. 


PAIR LARGE VASES. 
Haviland’s Limoges faience. Birds, 
fruits, and flowers in finely combined 


colors. 
Height, 17 inches. 


PITCHER VASE, 
Royal Worcester. Ivorytexture. Flowers 
in various enamels and chased gold. 
Height, 18 inches. 
I2I 


219 


220 


221 


223 


224 


225 


V ASE. 


Fisher & Meigs, Carlsbad. Design of a 
Chinese eggshell lantern. Rich decoration 
of birds and flowers in bright enamels and 
embossed gold; openwork borders at top 
and bottom. 

Height, 14 inches. 
OvIFORM VASE. 


Japanese cloisonné enamel on copper. 
Translucent red ground. Wild geese in 
flight in white, blue, and pink enamels, 

Height, 12 inches. 


PAIR COVERED VASES. 


French porcelain. Pastoral and flower 
subjects in medallions, and stripe designs in 
two shades of blue; gilt-bronze mountings 


and ornaments. 
Height, 16 inches. 


BISQUE GROUP. 


“Directoire.”” Rich decoration in gold, 
embossed and chased. 
Height, 13 inches; width, 9 inches. 


BOTTLE-SHAPED VASE, 
Fisher & Meigs, Carlsbad. Ivory glaze. 
Flowers and birds in richly combined colors 


and gold. 
Height, 11 inches. 


TALL HEXAGONAL VASE, 

Japanese cloisonné enamel on copper. 
Archaic and other designs in finely com- 
bined enamels. 

Height, 12 inches. 


PITCHER VASE. 
Royal Worcester. Floral decoration in 
embossed gold and platina. 
Height, 18 inches. 
I22 


| 
. 
| 


226 


227 


228 


229 


230 


231 


COVERED VASE, 


Iridescent glass. Embossed gold deco- 


ration. 
Height, 17 inches. 


VASE. 


Tall, hexagonal-shaped. Japanese cloi- 
sonné enamel oncopper. Phoenix, imperial 
dragon, and other designs in translucent 


and other enamels. 
Height, 12 inches. 


PITCHER VASE. 


Royal Worcester. Flowers in natural 
colors on ivory-white ground ; openwork 
and gilt ornamented neck and handle. 


Height, 15 inches. 


PaiR COVERED VASES. 


Crown Derby. Depressed globular- 
shaped, Chinese-head handles. Rich deco- 
ration of flowers, birds, and blossoms in 
finely combined bright colors and gold. 


Height, 12 inches; diameter, 11 inches. 


VASE. 


Carlsbad. Ivory texture. Tall, quadri- 
lateral shape, with platina lizards in relief 
at corners. Rich turquoise jewelled deco- 
ration and chased gold ornaments. 


Height, 15 inches. 


OvoIp VASE. 


Japanese cloisonné enamel on copper. 
Red translucent enamel ground, with orna- 
mentation of dragons, flowers, and archaic 
designs in green palm-leaf panels; yellow 


band at neck. 
Height, 12 inches. 


123 


232 


2:33 


234 


235 


236 


237 


RoyvaL VIENNA VASE, 


Oviform, on feet, and with gilt handles 
at neck. Finely painted figure subjects and 
flowers on obverse and reverse panels, 
which are surrounded by a rich decoration 
in gold, maroon, and blue enamels. 


Height, 13 inches. 


WEDGWOOD VASE. 


Empire design. Relief ornamentation in 
gold on ivory-white ground. 


Height, 11 inches. \ 


RoseE-LEAF JAR. 


Iridescent glass. Painted and em- 
bossed ornamentation. 


Height, 19 inches ; diameter, 6 inches. 


LARGE VASE, 


Doulton faience. Ovoid-shaped. Chrys- 
anthemum flowers painted in natural colors 
on ivory-white ground. Band at neck and 
foot in green and brown glaze, and pen- 


cilled in gold. 
Height, 15 inches. 


FAIENCE JAR. 


Egyptian design. Rich maroon glaze. 
Numerous butterflies pencilled in gold. 
Gilt-bronze mounting. 

Height, 23 inches. 


PITCHER VASE. 


Royal Worcester. Texture in imitation 
of old ivory. Finely modelled relief orna- 
mentation of grotesque heads and other 
designs. Decorated in delicate pink tints 
and embossed gold. 

Height, 16 inches. 
124 


} 


ee ee eee ee en ee 


238 


oa 


240 


241 


242 


243 


244 


VASE. 

Doulton faience. Tall amphora-shape. 
Flowers painted in natural colors and gold 
enamel. 

Height, 15 inches. 
PaIR VASES. 

French porcelain. Turquoise-blue glaze. 
Finely painted pastoral subjects and flowers 
in medallions. Gilt-bronze mountings and 
ornaments. 

Height, 14 inches. 
JARDINIERE, 

French porcelain. Turquoise-blue glaze, 
with gilt ornamentation. Pastoral subjects 
in two medallions. Gilt-bronze mountings. 

Height, 7 inches; length, 15 inches. 


PaiR VASES. 

eid = rench,”’ Historical subjects 
painted in panels. Relief and gilt orna- 
mentation. 

Height, 15 inches. 
LARGE VASE, 

Cylindrical-shaped. Japanese cloisonné 
enamel on copper. Plum tree in blossom ; 
birds and flowers in finely combined colors 
on jet-black enamelled ground. 

Height, 19 inches, 


CutT-FLOWER TUvB. 


Omari porcelain. Heavy texture. Cobalt- 
blue glaze. 


WEDGWOOD COVERED VASE. 
Urn-shaped. Sage-green and light-blue 
ground, with classical figures, grape-vine, 
and other ornamentation: modelled in 


relief in white biscuit. 
Height, 11 inches, 


125 


245 


246 


247 


248 


249 


250 


251 


Pair VASES. 


Royal Worcester. Relief floral orna- 
mentation. Gilt feet and handles finely 
modelled. 


Height, 8% inches. 
VASE. 


Hexagonal-shaped. Japanese cloisonné 
enamel. Birds and flowers in palm-leaf 
panels. Mottled enamelled ground. 


Height, 7% inches. 


V ASE. 


Quadrilateral. Japanese cloisonné en- 
amel on copper. Archaic and floral de- 
signs in various colors on jet-black ground. 
Green aventurine enamel at neck. 


Height, 7 inches. 


WEDGWOOD COVERED VASE, 


Empire design. Ornamentation modelled 
in relief, gilt and enamelled. 


Height, 12 inches. 


PAIR VASES. 


Egyptian design. Bold relief ornamen- 
tation of medallion heads and other de- 


signs. 
Height, 10 inches. 


THERMOMETER, 
Ivory tusk, with silver mountings. 


Height, 23 inches. 


Pair OBELISKS. 
Red marble, on black marble plinths. 
Height, 23 inches, 


126 


252, 


253 


254 


255 


256 


257 


WEDGWOOD VASE. 


Reproduction of the celebrated “ Port- 
land Vase,” in the South Kensington Mu- 
seum. Dark-blue ground, with ornamenta- 
tion modelled in relief in white. The 
meeting of Peleus and Thetis on Mount 
Pelion, and Thetis consenting to be the 
bride of Peleus. Head of Atys on the 


bottom. 
Height, 11 inches. 


WEDGWOOD VASE. 


Empire design. Rich relief ornamenta- 
tion in gold. Festoons of grape-vines, 
symbols, and other designs. 

Height, 12 inches. 
CARD-RECEIVER. 

French porcelain. Decoration of pasto- 
ral subjects and floral medallion. King’s- 
blue glaze, and gold ornamentation. Gilt- 
bronze mounting. 

Height, 7 inches. 
WEDGWOOD VASE WITH COVER. 


Urn-shaped. Sage-green and blue 
ground, classical figures in medallion, and 
rams’ heads and festoons of roses modelled 
in relief in white. 

Height, 15 inches. 
VASE ON PLATEAU. 

French porcelain. Finely painted cher- 
ubs, flowers, and symbols in delicately 
combined colors; relief and embossed gold 
ornamentation. Ormolu mountings. 

Height, 23 inches. 
CENTRE-PIECE. 

French porcelain. Decoration of pas- 
toral subjects and floral designs. King’s- 
blue glaze and embossed gold ornamenta- 
tion; gilt-bronze mountings. 

Height, 15 inches; diameter, 15 inches. 


127 


258 TERRA-COTTA STATUETTE, 


“Judith.” 
Height, 24 inches. 


259 CENTRE-PIECE. 


French porcelain. Rose-pink glaze. Pas- 
toral subject and floral designs in finely 
combined colors; gilt-bronze mountings. 


Height, 12 inches ; diameter, 16 inches. 


260 CARD-RECEIVER. 


French enamel on copper, “The De- 
parture.” Gilt-bronze mountings. 


CABINET OBJECTS 


261 COVERED JAR. 
Royal Worcester. Openwork design. 
Jewelled and embossed gold ornamenta- 
tion. 


262 Parr MINIATURE VASES, 


Satsuma faience. Japanese garden scenes 
and numerous butterflies and flowers mi- 
croscopically painted by Taizan. 


263 CUP AND SAUCER. 


Royal Berlin. King’s-blue glaze, em- 
bossed gold ornamentation, and exquisitely 
painted flowers in two medallions. 


264 PITCHER VASE. 


Royal Worcester. Ivory texture. Daisies 
in embossed gold and platina. Openwork 
bulb at neck. Glazed in delicate tints. 


128 


265 


266 


267 


268 


269 


270 


271 


272 


WEDGWOOD COVERED VASE. 

Urn-shaped. Empire design. Rich orna- 
mentation of floral festoons, vine and leaf 
pattern, all modelled in relief and gilded. 

Height, 9 inches. 
TEAPOT, 


Royal Vienna. King’s-blue glaze, with 

gold ornamentation, and exquisitely painted 

medallions of figure subject by Johnei. 
Gilt-bronze dolphin handle. 


PatR MINIATURE VASES. 


French enamel. Figures in translucent 
enamels, 


BowL wWitH HANDLES, 


Coalport. Landscape in panels and 
other ornamentation in embossed gold. 


WEDGWOOD VASE, 
Empire design. Relief ornamentation of 
vines, festoons, and leaf patterns in gold. 


Height, 5 inches. 


PaIR COVERED VASES, 

French enamel. Pastoral subjects in 
medallions, King’s-blue ground.  Gilt- 
bronze mountings. 

Height, 8 inches. 


Cup AND SAUCER. 
Royal Berlin. Empire design. King’s- 
blue glaze, embossed gold ornamentation 
and exquisitely painted floral medallions, 


RoyaL VIENNA TETE-A-TETE SET. 

With tray. Finely painted medallions of 
historical subjects, and-rich ornamentation 
in embossed and chased gold and various 
enamels, 


9 129 


273 


274 


275 


276 


277 


278 


279 


280 


281 


PAIR SMALL JARS, 


Royal Berlin. Dark-blue glaze, with 
floral decoration in natural colors. 


MINIATURE CUP AND SAUCER. 


Coalport. Turquoise jewelled ornamen- 
tation on gold ground. 


COVERED VASE. 


Royal Worcester. Intricate openwork de- 
sign. Decorated in delicate tints and em- 


bossed gold. 
Height, 10 inches. 


PaIR COVERED VASES. 


Coalport. Finely painted landscape 
views; rich ornamentation in embossed 
gold and coral-red enamel. 


Height, 8 inches. 
BoTTLE-SHAPED VASE. 


Royal Worcester. Egyptian design in 
intricate openwork. Rich ornamentation 
in embossed and chased gold and enamels. 


Height, 10 inches, 


MINIATURE WATERING-POT, 


French porcelain. Turquoise-blue glaze. 
Pastoral subjects painted in medallions. 
Chased silver mountings. 


MINIATURE JEWEL-Box. 


Dresden. Bellows design. Delicately 
painted decoration, Gilt-lined. 


MINIATURE TRAY, 


Coalport. Jewelled ornamentation on 
ivory-white glaze. 


CoRDIAL-GLASS. 


French enamel holder. 
130 


282 


283 


284 


285 


286 


287 


288 


289 


290 


SNUFF-Box. 

Dresden. Pastoral subject and floral de- 
sign in various colors. Silver-gilt mount- 
ings. 

MINIATURE FAN-SHAPED TRAY, 

Coalport. Blossom decoration in blue. 


JEWEL-STAND. 
Minton faience. Decoration in em- 
bossed gold. Gilt-bronze mountings. 


SMALL VASE, 
Gilded. Sterling silver. Enamelled 
chrysanthemum flowers. 
Height, 514 inches. 


JEWEL-TRAY. 
Royal Vienna. Richly ornamented in 
embossed gold on maroon ground. Gilt 
handles, 


SMALL VASE. 

Wedgwood. Empire design. Festoon 
of grape-vines, rams’ heads, and symbols 
modelled in relief and gilt. 

Height, 4% inches. 
CuP AND SAUCER. 

Royal Worcester. Ivory texture. Intri- 
cate openwork design. Rich jewelled orna- 
mentation. 


BELL. 
Coalport. Agate panels and embossed 
and chased gold ornamentation. 


WEDGWOOD VASE. 

Urn-shape. Sage-green ground. Classical 
figures, festoon of roses, and leaf patterns 
modelled in relief in white. 

Height, 6% inches, 
131 


291 


292 


295 


296 


297 


298 


299 


300 


Cup AND SAUCER. 


Royal Berlin. King’s-blue glaze. Me- 
dallion portrait of Bismarck. 


SMALL VASE, 

Carlsbad. Empire design, Festoons of 
roses, ram heads, and leaf borders mod- 
elled in relief and gilt. 

Height, 4 inches. 


PAIR SMALL VASES. | 
Ovoid - shaped. Japanese cloisonné 
enamel on copper. Archaic and floral de- 
signs in various enamels. 
Height, 6 inches. 


JEweEL-Box. 
Coalport. Globular-shaped. Rich jew- 
elled ornamentation on gold ground. Gilt 

mountings. 


JEWEL-TRAY. 
Royal Vienna, Richly decorated in em- 
bossed gold and finely combined enamels. 
FLOWER-BASKET, 
German faience. Cream-white glaze. 


SMALL VASE. 


Egyptian. Bottle design. Openwork and 


enamelled decoration. 
Height, 7% inches. 


Cup AND TRAY. 

Dresden. King’s-blue glaze. Pencilled 
gold ornamentation and finely painted 
panels. | 

SET OF FURNITURE IN MINIATURE, 


German repoussé silver. 
6 pieces. 


SMALL EMPIRE VASE. 


Wedgwood. Ornamentation modelled 
in relief and gilt. 


132 


301 


302 


393 


304 


395 


306 


o°7 


308 


3°9 


310 


311 


TOILET-Box. 
Cauldon ware. Pure white paste. Dec- 
oration of detached roses. 
Cup AND SAUCER. 
French porcelain. Cup mounted in re- 
poussé silver, and the saucer of silver, 
RussiIAN SPOON. 
Enamelled ornamentation. 


MINIATURE SPOONS. 


With crystal bowls and enamelled mount- 


ings. 
3 pieces. 


MINIATURE Cup, 


Russian. Silver filigree, filled in with 
translucent enamels. 


PERFUME-BOTTLE., 


Crystal glass. Decoration of sprays of 
flowers. 


ASH-RECEIVER. 
Crackled glass. Bronzeand gilt mount- 
ings representing spider-web and spider. 
Pair Hinpoo ANKLETS. 
Wrought in silver. Three rows of bells. 


JEWEL-CASKET. 


Louis XVI. table in miniature. Fine 
enamelled top and ormolu mountings. 


Ivory MINIATURE, 


“Napoleon Bonaparte,” by Durieux. 
Finely wrought gilt bronze easel frame. 


Ivory MINIATURE, 


“Court Beauty of the Time of Louis 
XVI,” by C. Tontier. Finely wrought 
bronze and gilt easel frame. 


133 


313 


314 


315 


316 


317 


318 


349 


320 


MINIATURE SCREEN. 

Finely wrought in ormolu. Three lower 
panels of French enamel with portraits of 
Louis XIV., XV.,and XVI. Upper panels 
of crystal glass. 

CARD-RECEIVER. 

Royal Vienna. King’s-blue glaze. Orna- 
mented with embossed gold. Centre panel 
decorated by A. Heer. Subject, “ Cupid 
Disarmed.”’ 

ANTIQUE VENETIAN GLAss DISH. 

Sapphire-blue. Enamelled and _ gilt 
ornamentation. Medizval subject. 

Height, 614 inches ; diameter, 8 inches. 
CARD-RECEIVER. 

Limoges enamel. Mythological subject | 

in white and gold on rich brown ground. 
EMPIRE TEAPOT. 

French porcelain. King’s-blue glaze. 
Embossed gold ornaments and finely 
painted floral medallions. 

PaIR PAPER-CUTTERS, 

Sword design. 


BABY ELEPHANT. 

Wrought in bronze. 
ELEPHANT. 

Wrought in bronze. 
ENAMELLED BRONZE GROUP. 


The Siesta. 


VIENNA GILT GROUP. 
The Minstrels. 
CARD-TRAY. 
Burnished brass. Openwork design. 
134 


323 


324 


325 


326 


327 


328 


329 


Ivory JEWEL-Box. 


Carved ornamentation; miniature of Na- 
poleon inserted in lid. 


MINIATURE CLOCK. 


Design of Sedan chair. Finely wrought in 
gilt bronze. Enamelled ornamentation. 


PoRTABLE DEsK, 


Vienna gilt. Decorated porcelain me- 
dallions. 


LIBRARY TABLE INKSTAND. 


Rich cut glass. Mounted in gilt bronze, 


EUROPEAN CERAMICS 


VASE. 


Fisher & Meigs, Carlsbad. Ovoid form, 
with spreading neck and base, and gilt 
grifin handles. Rich king’s-blue glaze. 
Embossed and chased gold decoration of 
birds and blossoms, 

Height, 12 inches. 
EMPIRE COVERED VASE. 


Wedgwood. Urn-shape. Ornamenta- 
tion of rams’ heads and festoons of roses 
modelled in relief and gilt. 

Height, 13 inches. 
PAIR COVERED VASES. 


Royal Vienna. Etruscan shape. On ped- 
estal. King’s blue glaze. Gold ornamenta- 
tion and finely painted panel by A. Heer. 
Subject, Hector, Paris, and Helena, 

Height, 14 inches, 
135 


33° 


33t 


O32 


333 


334 


335 


PAIR COVERED URNS. 


French porcelain, Sevres style. Pastoral 
and floral subjects finely painted in medal- 
lions, which are surrounded by gold and 
jewelled borders. ‘Turquoise-blue glaze. 
Gilt-bronze mountings. 

Height, 13 inches. 
PAIR VASES. 


French porcelain. Sévres style. Finely 
painted panels of figure and floral subjects. 
King’s-blue glaze and jewelled and em- | 
bossed gold ornamentation. Mounted in 


gilt bronze. 
Height, 12 inches. 


PaIR COVERED JARS. 


French porcelain. Sévres style. Finely 
painted decoration of children and land- 
scapes. Turquoise-blue glaze and jewelled 
and embossed gold ornamentation, Gilt- 
bronze mountings. 

Height, 13 inches. 
COVERED URN. 


French pdte-tendre, Sévres style. King’s- 
blue glaze and rich jewelled ornamenta- 
tion. Mountings of gilt bronze. 

Height, 13 inches. 
PatiR COVERED VASES, 


Tall oviform ; French porcelain. Figure 
and flower subjects decorated in panels by 
H. Poitevin. Turquoise-blue glaze. Gold 
enamel ornamentation, and _ gilt-bronze 


mountings. 
Height, 18 inches. 


PatiR COVERED VASES. 

French porcelain, Sévres style; finely 
painted pastoral subjects. King’s-blue 
glaze. Jewelled and gold enamel decora- 
tion, and finely wrought gilt mountings. 

Height, 13 inches. 
136 


336 


gad 


338 


339 


340 


341 


PaiR COVERED URNS. 


French péte-tendre, Sevres style; finely 
painted pastoral subjects. Jdleu-de-Rot glaze 
and jewelled ornamentation; mounted in 
finely wrought gilt bronze. 

Height, 11 inches. 
PatIR COVERED VASES. 


Graceful urn shape; French porcelain. 
Artistically painted panels of figure subjects 
and landscape, by Nicolas. Rich king’s- 
blue glaze ; ornamentation in embossed and 
chased gold. Gilt-bronze mountings. 

Height, 16 inches. 


Pair TALL VASES WITH COVERS. 

French porcelain ; finely painted decora- 
tion, Subject, The Seasons. Turquoise- 
blue glaze, and embossed gold ornamenta- 
tion of floral and vine designs. Mountings 
and ornaments in gilt bronze. 

Height, 25 inches. 
BOHEMIAN AMBER GLASS VASE. 


Incised and gilt ornamentation of leaf 
and other designs. Bosses in imitation of 
precious stones. 

Height, 19 inches ; diameter, 9 inches. 
PAIR VASES, 

Pilgrim bottle-shaped. French faience. 
Finely painted decoration of figure subjects, 
Duck and Chickens, by L. Gautet. King’s- 
blue glaze, and ornamentation in em- 
bossed and chased gold. 


Height, 16 inches ; diameter, 14 inches. 
PaiIR CYLINDRICAL VASES. 

Japanese cloisonné enamel on copper. 
Plum tree in blossom and peonies and birds, 
in various enamels, on lavender ground. 

Height, 18 inches. 
137 


342 LARGE JARDINIERE. 
Crystal glass, mounted in gilt bronze. 


Height, 16 inches ; diameter, 16 inches. y 


343 Pair LARGE VASES. 


-Urn-shaped ; Royal Worcester. Texture 

in imitation of old ivory. Ornamentation 
artistically modelled in bold relief, and 
richly enamelled in gold, platina, and vari-~* 
ous enamels. Bas-relief heads of famous 
ancient poets. 


Height, 23 inches ; diameter, 13 inches. 


344 LARGE CYLINDRICAL VASE. 
French faience. Rich decoration of 
Eastern subjects by V. Paccatte and E. 
Buffet. 


Height, 27 inches ; diameter, 11 inches. 


345 Parr LARGE VASES. 


Tall ovoid shaped, with spreading necks © 
and bases. Decoration of Eastern figure 
subjects and landscapes, by Paccatte, after 
Jules Lefebvre and Leygue. Embossed 
gold and platina ground. 


Height, 34 inches ; diameter, 13 inches. 


346 LaRGE Jar. 

French faience. Design of Oriental water 
vessel. Richred glaze. Ornamentation of 
thistles, flowers, and insects in embossed 
gold. Gilt-bronze mountings. 


Height, 25 inches ; diameter, 12 inches. 


347. Pair LarGE URNS WITH HANDLES. 
French porcelain. Finely painted cupids 
and landscape by L. Renders. Embossed 
gold ornamentation. 
Height, 20 inches ; diameter, 15 inches. 
138 


348 


349 


35° 


351 


352 


LARGE JARDINIERE, 


French faience. Fluted globular form, 
covered with a rich ruby-red glaze. Finely 
wrought burnished brass mountings and 
handles, 


Height, 18 inches ; diameter, 18 inches. 


PaiR LARGE VASES. 


Moore’s English faience. ‘Texture in 
imitation of ivory. Ornamentation of water 
lilies, modelled in bold relief, and decorated 
in enamelled gold and platina. 


Height, 20 inches; diameter, 15 inches. 


PAIR EMPIRE VASES. 


Oviform, with swan handles and perma- 
nent pedestals. Decoration of figures in 
panels. Rich gold glaze and etched orna- 
mentation. 


Height, 23 inches ; diameter, 12 inches. 


PaiR LARGE VASES WITH COVERS. 

Urn shape, with gilt handles and per- 
manent pedestals. Royal Vienna porce- 
lain. Finely painted panels by A. Koller. 
Subjects, Rinaldo and Armida, The Three 
Graces, and Jupiter and Callisto. Rich 
king’s-blue glaze, and jewelled and em- 
bossed gold ornamentation. 


Height, 25 inches; diameter, 13 inches. 


PatirR LARGE VASES, 


Tall oviforms, with spreading necks and 
bases. French porcelain. Decoration of 
pastoral and landscape subjects. Turquoise- 
blue glaze. Embossed and chased gold 
ornamentation. 

Height, 31 inches ; diameter, 15 inches. 
139 


353 


354 


355 


356 


Sei 


358 


Shoe) 


Pair LARGE OVIFORM VASES. 
French porcelain. Pastoral subjects and 
landscapes painted in panels. Rose-color 
glaze; embossed gold ornamentation. 


Height, 31 inches ; diameter, 14 inches. 


GRAND DOULTON JARDINIERE. 

Ivory texture. Artistic decoration of 
deer, moor fowl, and landscape, by Henry 
Mitchell ; other ornamentation in embossed 
gold and enamels. 


Height, 23 inches; diameter, 20 inches. 


PEDESTAL FOR THE PRECEDING. 
Mexican onyx. Mounted in gilt bronze. 


Pair LARGE CYLINDRICAL VASES. 

Arita porcelain. Rich decoration of 
floral designs and butterflies in panels 
on deep-blue ground; relief ornaments 
and handles. Carved walnut stands. 


Height, 34 inches; diameter, 12 inches. 


HALL SEAT. 
French faience. Cylindrical basket de- 
sign, with cushion top. Decoration of 
flowers and fruit in low tones. 


Height, 20 inches ; diameter, 16 inches. 


HALL SEAT. 
French faience. Cylindrical basket de- 
sign, with cushion top. Decoration of foli- 
age and birds in rose-pink and pale-blue. 


Height, 20 inches; diameter, 16 inches, 


Pair LARGE URNS, WITH PEDESTALS. 


Majolica, Clouded purple glaze. Rams’ 
heads and other ornamentation modelled in 
bold relief and glazed in low tones. 

Height, including pedestal, 47 inches ; 
diameter, 20 inches. 
140 


360 Pair LARGE JARDINIERES. 


French faience. Cobalt-blue glaze; re- 
lief ornamentation of fowl, blossoms, and 
other designs enamelled in various colors, 
Elephant head and ring handles. 


Height, 18 inches ; diameter, 22 inches. 


361 Pair COVERED VASES, 


Tall ovoid shape. French porcelain. 
Sevres pédte-tendre style. Artistically 
painted decoration of cupids and flowers in 
medallions. King’s-blue glaze, ornamented 
with embossed gold and platina. Finely 
wrought gilt-bronze mountings. 


Height, 28 inches; diameter, 8 inches. 


362 PAIR COVERED VASES, 


French porcelain.. Sévres style. Finely 
painted decoration, The Seasons, by C. 
La Barre. Mounted in finely wrought gilt 
bronze. 


Height, 25 inches; diameter, 11 inches. 


363 PatiR LARGE VASES WITH COVERS. 


Graceful oviform. Finely painted deco- 
ration of figure and landscape subjects by 
L. Penel. King’s-blue glaze. Jewelled 
and embossed gold ornamentation. Finely 
wrought gilt-bronze handles and mount- 
ings. 

Height, 27 inches; diameter, 13 inches. 


364 Pair LARGE VASES. 

Tall, graceful oviform. Panels artistically 
decorated ; figure subjects, after Wouver- 
mans, and landscapes. Rich dleu-de-Roi 
glaze, and embossed and chased gold orna- 
mentation. Gilt-bronze mountings. 

Height, 34 inches ; diameter, 20 inches, 
141 


365 Pair Larce VAsEs. | a 
Tall, graceful ovoid shape. Artistic 
decoration in panels of battle scenes. Rich 
king’s-blue glaze, and elaborate ornamen- — 
tation in embossed and chased gold. Gilt- 

bronze handles and mountings. 


ape a 


Height, 35 inches; diameter, 18 inches. 


/ 
) 
i] 
i 
4 
{ 
] 
i 
i 


142 


GLASS WARE, TABLE SERVICES 
IN SEVRES, MINTONS, AND 

~ ROYAL WORCESTER, AND 
GRAND SEVRES VASES AND 
OTHER ORNAMENTS 


SECOND AFTERNOON'S SALE 


Wednesday, February 14th 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK. 


GLASS WARE 
366 CuP AND SAUCER. 
Cut and engraved crystal glass. 


367. LiQUEUR-GLASSES. 
Mounted in repoussé silver. 


Q pieces. 
368 WINE-GLASSES. 
Engraved key pattern. 
IO pieces. 
369 «©6GOBLETS. 
To match the preceding. 
Ig pieces. 
370 ‘TUMBLERS AND GOBLETS, 
Various patterns. 
8 pieces. 


371 CHEESE-DISH AND COVER. 
Crystal glass, engraved key pattern. 


372 FINGER-BOwLSs, 


Cut ornamentation. 
5 pieces. 


IO 145 


373 


374 


375 


376 


oid, 


378 


379 


380 


381 


382 


383 


384 


PAIR DECANTERS. : 
Pints. Engraved and cut. 


Pair DECANTERS, 
Pints. Engraved lilies and ferns. 


PaiR WINE-BOTTLES. 
Antique design; engraved ornamentation. 


WINE-GLASSES. 


Embossed gold and jewelled ornamenta- 


tion. 
8 pieces, 


RHINE WINE-GLASSES, 
Venetian. Aventurine blue glass. 
7 pieces. 
CHAMPAGNE-BOwWLS. 


Ruby glass. Embossed gold and jewelled 


ornamentation, 
10 pieces. 


CLARET-GLASSES, : 
Bohemian glass. Enamelled decoration. 


IO pieces. 
CHAMPAGNE-BOWLS. 
To match the preceding. 
g pieces. 
GOBLETS. 
To match the preceding. 
IO pieces. 


Pair WINE-BOTTLES, 
Moorish design. Enamelled and gilt. 


Pair CryYSTAL GLAss DECANTERS, 
Pints. Dragons and fire emblems in em- 
bossed gold. 
DECANTER. 


Crystal glass. Embossed gold and enam- - 
elled decoration. 


146 


385 


386 


387 


388 


389 


39° 


391 


ue 


393 


RHINE WINE-GLASSES, 


Amber texture. Enamelled floral deco- 


ration, 
4 pieces. 


TUMBLERS AND WINE-GLASSES, 
Various designs. Enamelled decoration. 
Q pieces. 
COVERED SUGAR-BOWL. 
Crystal glass, cut and engraved. Gilt- 
bronze mountings. 
LIQUEUR-BOTTLES. 


Crystal glass. Repoussé silver bands 


and ornaments. 
3 pieces. 


COVERED SUGAR-BOWL. 
Crystal glass. Mounted in repoussé 
silver. 
Rusy G.Lass-DIsuH. 
Oval scalloped designs. Mounted in 
repoussé silver. 
DECANTER. 
Quart. Crystal glass. Elaborately 
mounted in chased silver. 
CrysTAL Guass INK-STAND. 
Mounted in gilt silver and enamelled. 


ELABORATE CENTRE-PIECE. 
Intaglio glass. Finely wrought gilt- 
bronze mountings of Japanese design. 
Height, 30 inches ; diameter, 15 inches. 
Ova. DIsu. 
To match the preceding. 
Height, 10 inches ; length, 17 inches. 
PAIR COMPOTES. 
Square shape, to match the preceding. 
Height, 9 inches ; diameter, 12 inches. 


147 


396 PAIR COMPOTES. 
Square shape, to match the preceding. 
Height, 9 inches; diameter, 12 inches, 
397 PAIR COMPOTES. 
Square shape, to match the preceding. ~ 
Height, 8 inches ; diameter, 9! inches. 


398 ELABORATE TABLE SERVICE, 


Rich cut glass, mounted in artistically 
wrought ormolu. Comprises oval centre- 
piece on plateau, 2 round side-pieces with 
trumpet-shaped flower-holders, and 6 
round compotes, 


TABLE SERVICES IN SEVRES, MINTONS 
ROYAL WORCESTER, AND OTHER 
CHINA. 


399 CRACKER-J AR. 
French porcelain. Rose du Barré glaze. 
Gilt decoration. 
400 CUPS AND SAUCERS, 
Royal Worcester. Decoration of floral 
designs in blue, sepia, and green. 
4 pieces. 
401 CuP AND SAUCER. 
Minton. Floral designs in low tones. 


402 CUP AND SAUCER. 


Detached flowers in turquoise-blue and 
violet enamels. 


403 LARGE CUP AND SAUCER. 

Sevres. Turquoise-blue glaze. Em- 
bossed gold ornamentation. Cherubs and 
monogram of Louis Philippe in medallion, | 
Sévres, 53. 

148 


404 


405 


406 


407 


408 


409 


410 


AI 


412 


LARGE CUP AND SAUCER, 
Sévres. Pastoral and floral subjects 
painted in medallions. Pale turquoise-blue 
glaze, and gold ornamentation. Sévres,.77. 


SMALL PLATES. 
Sévres. Pure white texture; gilt scalloped 
edge. Marked with monogram of Louis 
Philippe, Sevres, 1847, “ Chateau des Tui- 


leries.” 
18 pieces. 


DESSERT-PLATES, 


Royal Bonn, Germany. Decoration of 


views in Holland in deep-blue. 
6 pieces. 


PRESERVE-SAUCERS. 


To match the preceding. 
13 pieces. 


DINNER- PLATES, 
Minton delft. Decoration of Chinese 
designs in two shades of blue; gilt edge. 
} 7 pieces. 
SMALL DEEP PLATES. 
Dresden china. Floral and fruit designs 
in dark-blue; scalloped edges. 
6 pieces. 
DINNER-PLATES. 
Royal Worcester. Floriated borders in 
deep-blue ; gilt edge. 
12 pieces. 
Soup-PLATES, 
To match the preceding. 


II pieces. 
SMALL Soup-PLATES. 

Burgess Campbell’s royal blue porce- 
lain. Floral patterns, painted in cobalt- 
blue and gold ; scalloped gilt edge. 

9 pieces. 
149 


413. DINNER-PLATES. 
To match the preceding. | 
14 pieces. 
414 BONE-PLATES, 
Crescent-shaped, to match the preceding. 
12 pieces. 
415 DINNER-PLATEs. 
Wedgwood. Rich decoration of land- 
scape medallions and floral borders, in two 
shades of blue and gold; gilt edge. 


12 pieces. 
416 SMALL SouP-PLATES. 
Copeland. Chinese designs in cobalt- 
blue ; gilt edge. 
; 35 pieces. 
417. DESSERT-PLATES. 
Mintons. Sprays of moss roses in em- 
bossed gold, platina, and enamels; gilt edge. 
II pieces. 
418 DINNER-PLATES, 


Dresden. Sprays of various flowers, in 
natural colors ; leaf-pattern borders, enam- 
elled and gilt. 


12 pieces. 
419 DINNER-PLATES. 
Coalport. Rich decoration in green 
enamel and embossed gold ; rope border. 


12 pieces. 
420 SOUP-PLATES. 
To match the preceding. 
12 pieces, 
421 DESSERT-PLATES. 
To match the preceding. 
12 pieces. 


422 DESSERT-PLATES, 

Sarrequemines, Canary-yellow glaze. 
Lace-pattern borders, and centre ornament 
in gold. 

12 pieces. 
150 


423 


424 


425 


426 


427 


428 


429 


430 


431 


432 


DINNER-PLATES. 


Mintons. Rich decoration in embossed 
and chased gold on king’s-blue glaze; 


white centres. 
12 pieces. 


Soup-PLATES, 


Royal Worcester. Etched lace-pattern 
borders ; blue and gold edges. 


12 pieces. 
DINNER-PLATES. 


To match the preceding. 
12 pieces. 


DESSERT-PLATES, 


French porcelain. Sévres style. Deco- 
ration of court beauties in centre medal- 
lions ; borders of turquoise-blue and gold 
with floral festoons and ribbons. 

14 pieces. 


PAIR COMPOTES. 

To match the preceding. 
PAIR COMPOTES. 

To match the preceding. 


Soup-PLATES, 


Coalport. Rich decoration in embossed 
and chased gold ; scalloped edge. 


12 pieces, 
DINNER-PLATES. 
To match the preceding. 
12 pieces. 
DESSERT-PLATES. 
To match the preceding. 
10 plates. 


DINNER-PLATES. 
Coalport. Floral designs in various colors 
in imitation of old Chinese; key-pattern 


borders. 
12 pieces, 


151 


433 


434 


435 


436 


437 


438 


439 


440 


441 


DESSERT-PLATES, 


Coalport. Decoration of finely painted 
figure subjects ; rich green and gold scal- 
loped edges. 


II pieces. 
DESSERT-PLATES, 


Dresden. Decoration of floral designs 


in natural colors; gilt edge. 
1g pieces. 


SMALL PLATES. | 
Ruskin. Indian red and gold borders. 


12 pieces. 


SMALL SOUP-PLATES, 


Royal Worcester. Borders of floral de- 


signs etched in Indian red ; gilt edge. 
12 pieces. 
DINNER-PLATES. 


Crown Derby. Rich decoration of Moor- 
ish designs in red, gold, and black ; star 


pattern centres, 
18 pieces. 


DESSERT-PLATES. 


Royal Worcester. Japanese crests, orna- 
ments, and coins in embossed gold on deco- 


rated blue ground, 
30 pieces. 


DINNER-PLATES, 
Wedgwood. Borders of floral and leaf 
designs in Indian red ; gilt edges. 
22 pieces. 
DINNER-PLATES. 


Mintons. Pure white texture. Em- 
bossed and chased gold borders. 


25 pieces. 
Soup-PLATES. 
Mintons, to match the preceding. 


15 plates. 
152 


442 


443 


444 


445 


446 


447 


(448 
449 


450 


COMPOTE AND PLATTER. 

Sévres. Decoration of cherubs and mono- 
gram of Louis Philippe. ‘Turquoise-blue 
and embossed gold borders. ‘‘ Sévres, 1844, 
L. P., Chateau des Tuileries.” 


TrEa-Por., 
Sevres porcelain, to match the preceding. 


DINNER-PLATES. 


Sévres. Finely painted decoration of 
cupids. Rich borders of embossed and 
chased gold. ‘Doré a Sévres, R. F., 48 


Chateau de Compiegne.”’ 
1g pieces. 


DINNER-PLATES. 
Sévres, to match the preceding. 
1g pieces. 
Two LARGE PLATTERS. 


Sévres. Decoration of finely painted 
cherubs, in various enamels. Rich borders 
of embossed and chased gold on turquoise- 
blue enamel. “Doré a Sévres, R. F., 48 
Chateau de St. Cloud.” 


Diameter, 13 inches. 
Two LARGE PLATTERS, 


Sévres, to match the preceding. 
Diameter, 13 inches. 


Six Larce DINNER-PLATES. 
Sévres, to match the preceding. 
Diameter, II inches. 
SoupP-PLATES. 
Sévres, to match the preceding. 
12 pieces. 
Soup-PLATES. 


Sévres, to match the preceding. 
II pieces. 


153 


451 


452 


453 


454 


455 


456 


457 


458 


459 


460 


461 


DINNER-PLATES, . 


Sévres, to match the preceding. 
17 pieces. 


DINNER-PLATES, 


Sévres, to match the preceding. 
12 pieces. 


DESSERT-PLATES. 
Sévres, to match the preceding. 
21 pieces. 
Two SALAD-BoWLs. | 
Sévres, to match the preceding. 


Two COVERED VEGETABLE-DISHES. 


Sévres. Round shape with gilt handles, 
to match the preceding, 


Two COVERED VEGETABLE-DISHES. 
Sevres, to match the preceding. 


LARGE CUPS AND SAUCERS. 
Sevres, to match the preceding. 
9 pieces. 
DESSERT-PLATES. | 
Sévres. Richly decorated borders of 
bleu-de-Roi and gold pencilling. “L. P., 
Sévres, 1846, Chateau des Tuileries.” 
31 pieces. 
DINNER-PLATES. 
Sévres, to match the preceding. 
25 pieces. 
DINNER-PLATES. 
Sévres, to match the preceding. 
24 pieces. 
LARGE CUPS AND SAUCERS. 
Sevres, to match the preceding. 
15 pieces. 
154 


462 


463 


464 


465 


466 


467 


468 


469 


470 


TEA-SET. 

Sévres, to match the preceding. Com- 
prises tea-pot, sugar-bowl, cream-pitcher, 
and large bowl and plate. 

TrEA-CuPS AND SAUCERS. 
Sévres, to match the preceding. 


16 pieces. 


AFTER-DINNER COFFEE-CUPS AND SAUCERS. 

Sévres, to match the preceding. 

14 pieces. 
TEA-SET. 

Sévres. Decoration of pastoral subjects 
and flowers in panels. ‘Turquoise-blue 
glaze, and gold ornamentation. Com- 
prises tea-pot, sugar-bowl, and six various 
cups and saucers. 


ANTIQUE TEA-SERVICE. 


By Nast. Empire design, richly orna- 
mented in gold enamel and chased. Com- 
prises tall tea-pot, covered sugar-bowl, 
cream-pitcher, and five cups and saucers. 


Two LARGE BowlLs. 


‘Nast 4 Paris.” Embossed gold orna- 
mentation. 


CHOCOLATE-CUPS AND SAUCERS. 


“Nast a Paris.’”’ Embossed gold orna- 


mentation. 
7 pieces. 


TEA-Cups AND SAUCERS. 
“ Nast 4 Paris,” to match the preceding. 
14 pieces. 
CoMPOTE. 


Sévres. Decoration of pastoral subjects 
and floral panels. ‘Turquoise-blue glaze, 
and gold ornamentation. 


155 


471 “ NaAPpoLEON ” DINNER-SERVICE, 


Sévres. Pure white paste. Ornamenta- 
tion of monogram and crown of Napoleon 
in gold. ‘“ Doré a Sévres, Initial N and 
Crown, Sévres, 67.” Comprises : 

5 oval meat platters. 

2 large covered soup tureens with plat- 

ters. 

2 large covered vegetable dishes. 

2 covered vegetable dishes. Low form. 

2 pudding dishes. 

2 large salad bowls. 

2 small salad bowls. 

2 tall fruit stands. 

2 low fruit stands. 

g custard cups with stand. 

1 mustard pot. 

1 covered bowl and platter. 

6 low compotes. 

1 fruit basket with top handle. 

6 large round platters. Two patterns, 

1 covered vegetable dish.. Shell-shaped 

handles. 

2 gravy boats with platters. 

3 boat-shaped trays. 

4 boat-shaped trays, with scroll and star 

pattern handles. 

6 boat-shaped trays, with ribbon handles. 

6 dozen dinner-plates, — 

43 soup-plates, 


472 “NAPOLEON” DINNER-WARE. 


Sévres, to match the preceding. Com- 
prising : 
4 meat platters. 
t large covered soup tureen with platter. 
2 covered vegetable dishes. 
2 large salad bowls. 
1 small salad bowl. 
156 


473 


474 


475 


476 


477 


478 


479 


480 


481 


482 


2 large round platters. 
1 pudding dish. 
4 boat-shaped trays. 
3 boat-shaped trays, with ribbon handles. 
2 high compotes. 
4 low compotes. 
3 cake stands. 
28 dinner-plates, 


‘““ NAPOLEON ” DINNER-PLATES, 
Sévres, to match the preceding. 
24 pieces. 
“ NAPOLEON ’”’ DINNER-PLATES. 
Sévres, to match the preceding. 
24 pieces. 
“ NAPOLEON ”’ DINNER-PLATES. 
Sevres, to match the preceding. 
24 pieces. 
“NAPOLEON ” DINNER-PLATES. 
Sévres, to match the preceding. 
24 pieces. 
Two ‘“ NAPOLEON ”’ CHOCOLATE-POTS. 
Sévres, to match the preceding. 


‘NAPOLEON ”’ CHOCOLATE-POT., 
Sévres, to match the preceding. 


“ NAPOLEON ” FRUIT-STAND. 
Sévres, to match the preceding, . 


5 


“NAPOLEON ’ 
PITCHER. 
Sevres, to match the preceding. 


“ NAPOLEON ”’ SMALL PLATES, 
Sévres, to match the preceding. 


8 pieces. 
““ NAPOLEON ” CAKE-PLATES, 
Sevres, to match the preceding. 


4 pieces. 


157 


SUGAR-BOWL AND CREAM- 


483 


484 


485 


486 


487 


488 


489 


““ NAPOLEON ” LARGE CUPS AND SAUCERS, 
Sevres, to match the preceding. 
Q pieces. 


‘“ NAPOLEON’’ CuPS AND SAUCERS. 


Sevres, various sizes, to match the pre- 
ceding. 
13 pieces. 
DINNER-PLATES. 


Sévres. Pure white paste. Initial N 
and crown in gold. Gilt edge. “ Doré 4 
Sevres, 70.” 

24 pieces. 
DINNER-PLATES. 
Sevres, to match the preceding. 
5 13 pieces. 
Soup-PLATES. 

Sevres, to match the preceding. 

13 pieces. 
SOupP-PLATES, 


Sevres. Pure white paste. N and crown 
on border, in embossed gold. ‘Doré a 
Sévres, initial N and crown, Sévres, 67.” 
6 pieces. 
“Louis Puitippe”’ DINNER SERVICE. 


Sévres. Pure white paste. Louis Phi- 
lippe’s monogram in gold. “Chateau de 
Fontainebleau, Sevres, 78.” Comprises : 

3 meat platters. 

2 covered vegetable dishes. 

3 large round platters. 

7 custard cups and stands, 

1 cake stand. 

1 covered bowl and platter. 

1 mustard pot. 

4 Oval trays. 

5 dozen dinner-plates. 

14 soup-plates, 

158 


490 ‘THREE LARGE ROUND PLATTERS, 


Sevres. Pure white paste. Monogram 
of Louis Philippe, in blue enamel. “ Sévres 
1845, L. P. and crown and Chateau d’Eu.” 


491 LUNCHEON-SERVICE. 


“Nast a Paris.” Decoration of festoon 

of roses and ribbons in various enamels 
and gold. Comprises : 
43 plates. 

5 shell-shaped trays, 

2 diamond-shaped trays. 

2 irregular-shaped trays. 

2 low compotes. 

2 sauce tureens, with platters. 


492 DINNER-SERVICE, 


Sevres. Pure white paste. Rich decora- 
tion, in embossed gold, of leaf and vine 
designs ; lavender color borders, “Sevres, 
1846, L. P. and Crown and Chateau de St. 
Cloud.” Comprises: 


8 meat platters. 
1 large covered soup tureen, with platter. 
6 covered vegetable dishes. 
1 small covered soup tureen. 
1 large salad bowl. 
1 small salad bowl. 
1 covered sauce tureen, with platter. 
8 boat-shaped side dishes. 
43 dinner-plates. 
12 large dinner-plates. 
48 soup-plates. 
18 dessert-plates. 


493 LARGE ROUND PLATTERS. 


Sévres, to match the preceding. 
1g pieces. 


159 


494. BREAKFAST AND TEA-SERVICE. 5 
Sévres, to match the preceding. Com- — 
prises: | 
1 tea pot. 
1 sugar bowl. 
I cream pitcher. 
1 bowl and platter. 
18 large coffee cups and saucers, 
22 tea cups and saucers. 
19 chocolate cups and saucers. 
2 dozen plates. 


495 DINNER-SERVICE. r 
Sévres. Pure white, hard paste. Finely 
painted cameo medallions, vine and floriated 
designs in various enamels and embossed __ 
gold. ‘“Sévres, 1847, L. P. and “Crowne 
and Chateau de Fontainebleau.” Com- 
prises : 
9 meat platters. 
2 covered soup tureens. 
6 covered vegetable dishes. 
2 salad bowls. 
1 oval sauce tureen, with platter. 
1 round sauce tureen, with platters. 
4 boat-shaped side dishes. 
2 oval trays. 
1 round tray. 
4 compotes, 
43 dinner-plates. 
24 soup-plates. 
29 dessert-plates. 
496 DESSERT-SERVICE. 
Sévres, to match the preceding. Com- 
prises : 
Coffee-pot. 
Cream-pitcher. 
I sugar-bowl. : 
27 after-dinner coffee-cups and saucers. 
21 dessert-plates. 


160 


497 LARGE CUPS AND SAUCERS. 


Sevres, to match the preceding. 
7 pieces. 


498 TEA-CUPS AND SAUCERS. 


Sévres, to match the preceding. 
9 pieces. 


499 TEA-SERVICE. 


500 


501 


502 


505 


504 


Sévres. Pure white paste. Rich decora- 
tion of floral and cameo medallions, and 
embossed gold embellishment on _pale- 
green centres and borders. ‘Sévres, 1846, 

' L, P. and Crown and Chateau d’Eu.” 
Comprises : 

Tea-pot. 

Sugar-bowl. 

Cream-pitcher. 

16 cups and saucers, 

18 plates. 


LARGE CUPS AND SAUCERS. 
Sévres, to match the preceding. 


18 pieces. 


AFTER-DINNER COFFEE-CUPS AND SAUCERS, 
Sévres, to match the preceding. 


18 pieces. 


DINNER-PLATES, 
Sévres, to match the preceding. 
24 pieces. 
DINNER-PLATES,. 
Sévres, to match the preceding. 


28 pieces. 


DESSERT-PLATES, 
Sévres, to match the preceding. 
24 pieces. 
II 161 


sh 


506 


5°7 


508 


599 


510 


DINNER-PLATES, 


Sévres. Pure white paste. Rich decora- 
tion of flowers in natural colors, and lace 
patterns in embossed and chased gold. 
“ Doré a Sévres, 87. Chateau de Trianon,”’ 

24 pieces. 
TEA-SET. 

Sévres péte-tendre. Bleu-de-rot glaze with 
slight decoration in gold enamel. “ Décoré 
a Sévres, 94.” Comprises teapot, sugar- 
bowl, and cream-pitcher. 


Two Cups AND SAUCERS, 


Sévres pdte-tendre. Lapis-lazuli glaze. 
Decoration of vine design in embossed 
gold. : 


SEVRES PORCELAIN 


LARGE BOWL. 


Sévres, Outer surface covered with green 
glaze, and ornamented in embossed chased 
gold, and with miniature portraits of 
Napoleon I., Roi de Rome, and Marie- 
Louise, by Morin. Inner surface richly 
decorated in embossed gold. 


SMALL VASE, 


Sévres, trumpet-shaped. Covered with 
rich lapis-lazuli glaze. ‘“ Doré a Sévres, R. 
F., 94.” 

Height, 8% inches. 
LARGE BowL. 

Sévres. Outer surface covered with green 
glaze and ornamented with embossed 
chased gold, and miniature portraits of 
Caroline, Marie-Louise, and Madame Re- 
camier, by Morin. Inner surface richly 
decorated in gold enamel. 

Height, 5% inches ; diameter, 8 inches. 


162 


513 


514 


55 


516 


VASE, 


Sévres. Graceful oviform, covered with 

a soft ivory-white glaze, and ornamentation 

in pdle-sur-pate, of cameo medallion and 

floral designs, by I. Gély. The shoulder 

and foot are decorated with embossed and 

chased gold. ‘“Doré a Sévres, R. F., 88.” 
Height, 11% inches. 


V ASE, 


Sevres, Slender, pear-shaped. Covered 
with a rich lapis-lazuli glaze. ‘“Doré a 
pevres. KR. .r., 92°" 


Height, 13% inches. 
VASE. 

Sevres. Urn-shaped. Celadon glaze, 
and archaic designs in pdze-sur-pdte. Em- 
bossed gold and jewelled decoration. 
pore, ae nevres, R, F,, 85,” 

Height, ro inches. 


CYLINDRICAL VASE, 


Sévres. Jade-green and mottled-blue 
glaze. Ornamentation of birds and _ blos- 
soms in embossed and chased gold. ‘“ Doré 
a Sévres, R. F., 92.” 

Height, 13% inches. 


VASE. 


Sévres. Urn-shaped. Covered with a 
mottled-green glaze; gilt decoration. 
Ee Dore 4. Sevres, R, F., 82,” 


Height, ro inches. 


Pair VASES. 

Sévres. Cylindrical-shaped. Decoration 
of figure and floral subjects. Turquoise- 
blue glaze; jewelled and embossed gold 
ornamentation. Mounted in gilt brass. 

Height, 15 inches. 
163 


517 


518 


519 


520 


521 


522 


V ASE. 


Sévres. Cylindrical-shaped, with tall, 
spreading neck. Covered with a rich dleu- 


de-Rot glaze ; gilt decoration. ‘“ Décoré a ~ ‘ 


sévres, R.E., 92.” 
Height, 13% inches. 
VASE. 

Sévres pdte-tendre. Graceful, ovoid 
shape, with tall, spreading neck. Covered 
with a soft, mottled-blue glaze, and cloud- 
ings of various shades of brown. “ Doré a 
Sévres, R. F., 82.” 

Height, 13% inches. 
Pair LAmp-VASES. 

Sévres. Ovoid-shaped. Covered with 
rich bleu-de-Roi glaze. Slight decoration 
in gold. ‘ Doré’a Sévres, RF 65. 

Height, 14 inches; diameter, 7% inches. 
PAIR VASES. 

Sévres. Ovoid-shaped, with cylindrical 
necks. Decoration of landscape subjects 
in panels, by Moreau ; b/eu-de-Rot glaze and 
embossed gold ornamentation. ‘‘Sévres, - 
L. P., 44, Chateau de Tuileries.” 

Height, 16 inches. 
LARGE VASE. 

Sévres. Tall amphora-shaped. Rich 
bleu-de-Rot glaze. Mountings and side or- 
naments in finely wrought ormolu. ‘ Doré 
a Sévres, R. F., 82.” 


Height, 27 inches ; diameter, 12 inches. 


LARGE VASE, 

Sevres. Tall amphora-shaped. Rich 
lapis-lazuli glaze. Mountings and side or- 
naments in finely wrought ormolu. ‘ Doré 
a Sévres, R. F., 76.” 

Height, 26% inches ; diameter, 12 inches. 


164 


523 


524 


525 


526 


527 


528 


529 


GRAND VASE. 


Sévres. Etruscan shape. Blue and 
gold clouded mottled glaze. Mounted 
on gilt-bronze plinth. “Doré a Sévres, 
eee 3. 


Height, 34 inches ; diameter, 18 inches. 


PEDESTAL FOR THE PRECEDING. 
Tripod and figure design. Elaborately 
wrought in gilt bronze ; revolving top. 
Height, 37 inches. 
GRAND VASE. 
Sévres, Etruscan shape. Mottled-blue 
glaze, with slight gilt decoration; gilt- 
bronze handles and plinth. 


Height, 35 inches; diameter, 18 inches. 


PEDESTAL FOR THE PRECEDING. 
Egyptian marble. Column design, with 
black marble base and revolving top. 
Height, 46 inches. 
GRAND VASE 
Sévres. Etruscan shape. Mottled-blue 
glaze, with gold-dust cloudings, Finely 
wrought gilt-bronze handles and plinth. 
“ Doré a Sévres, R. F., 83.” 


Height, 35 inches ; diameter, 18 inches. 


PEDESTAL FOR THE PRECEDING. 


Egyptian marble. Column design ; 

black marble base and revolving top. 
Height, 46 inches. 
PaiR GRAND VASES. 

Sévres. Tall, slender bottle-shaped. Cov- 
ered with a rich translucent lapis-lazuli 
glaze. Mountings and ornaments in finely 
wrought gilt bronze ; onyx plinths. 

Height, 49 inches; diameter, 8 inches, 
165 


530 GRAND JARDINIERE. z 
Sévres. Amphora-shaped. Covered with 
lapis-lazuli glaze. Richly mounted in finely — 
wrought gilt bronze, and mounted on a © 

carved onyx plinth. 
Height, 47 inches; diameter, 13 inches. 


531 GRAND VASE. 

Péte-tendre. Panels artistically deco- 
rated with mythological subjects and 
landscapes, by L. Malpass; d/ue-de-Roi 
glaze, with rich embellishment in embossed 
and chased gold. Elaborately wrought 
ormolu mountings and ornaments. Deco- 
rated porcelain panels inserted in elaborate 


bases. 
Height, 55 inches; diameter, 21 inches. 


532 GRAND VASE, 
Pdte-tendre. Companion to the preced- 
ing. 


Height, 55 inches ; diameter, 25 inches. 


533 PAIR PEDESTALS FOR THE PRECEDING VASES. 


Carved and ebonized., 

Height, 25 inches. 
534 GRAND VASE. 

Péte-tendre. Graceful ovoid form, with 
flaring neck of fluted design. Panels 
artistically decorated with figure subjects, 
“ Painting ” and “ Music” and landscapes, 
by E. Apoil. Turquoise-blue glaze, with 
ornamentation in embossed and chased 
gold. Mountings, ornaments, and plinths 
in finely wrought gilt bronze. 


Height, 51 inches; diameter, 23 inches. - 


535 GRAND VASE. 
Pdte-tendre. Companion to the preced- 
ing. 
166 


536 PAIR PEDESTALS FOR THE PRECEDING VASES. 
Elaborate design in carved and polished 
onyx. Square-shape tops and plinths. 
Height, 36 inches ; diameter, 20 inches. 
537. GRAND VASE. | 
Sevres. Tall, graceful oviform, with 
spreading neck and base. Deep turquoise- 
blue mottled glaze, with slight gilt bands. 
Mountings and handles of finely wrought 
ormolu. ‘ Doré a Sévres, R. F., 81.” 


Height, 41 inches ; diameter, 15 inches, 
538 GRAND VASE. 


Sévres. Companion to the preceding. 


539 PAIR PEDESTALS FOR THE PRECEDING VASES. 


Egyptian design in carved mahogany. 
Brass ornaments and mountings. 


Height, 44 inches ; diameter, 13 inches. 


167 


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THIRD AFTERNOON’S SALE 


Thursday, Febraary 15th 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2,30 O'CLOCK 


STERLING SILVER 


540 INDIVIDUAL PEPPER-Box. 


541 TooTuHrick HOLDER, 
’ Design of porcupine. 


542 PApER-CUTTER. 
Mounted in repoussé and hammered 
silver. 


543 INDIVIDUAL CiGAR-CUTTER. 
Repoussé silver, chased. 


544 SMALL TRAY WITH HANDLES. 
Bold repoussé ornamentation. 


545 Bon-Bon Spoon. 
Open-work design of fleur-de-lis and 
lion crest ; gilded. 


546 ‘TEA-STRAINER. | 


547 INDIVIDUAL COMMUNION SERVICE. 
Comprises miniature wine vessel, goblet, 
and plate. 


171 


548 


549 


55° 
ey} 


532 


553 


554 


Ske 


556 


ees 


558 


559 


560 


Bae 


SMALL SHELL-SHAPED TRAY. 
Gilded. 


INDIVIDUAL COMMUNION GOBLET AND SPOON. 
Gilded. : 


INDIVIDUAL COMMUNION GOBLET AND PLATE. 


BERRY-SPOON. 
Repoussé and chased ornamentation of 
birds and flowers. 
CHEESE-SCOOP. 
Relief and chased ornamentation. 


SuGAR-TONGS AND SPOON. 
Russian silver. Enamelled and gilded. 


Two SPOONS. 
Toddy spoon and souvenir spoon of 
Public Library, Warren, Mass, 
APOSTLE-SPOON. 
Gilded bowl. 


APOSTLE-SPOON. 
Gilded. 
APOSTLE-SPOON. 
Gilded bowl. 
MusTARD-PorT. 
French open-work design of medallion 
heads. Blue glass bowl. | 
MusTARD-Por. 
Old English. Open-work grape-vine 
design. Blue glass bowl. 
Toppy-GLAss. 


Mounted in silver of open-work design. 
Figures in relief ; gilded. : 


MUSTARD-Pot. 


French. Open-work design. Classic fig- 
ures and leaf designs. Blue glass bowl. 


172 


562 


563 


564 


565 


566 


567 


568 


569 


57° 


571 


Two SALT-STANDS, 
To match the preceding. 


SUGAR-BASKET. 

Blue glass mounted in silver. Open- 
work design of floral festoons and medal- 
lion heads. 

Two SALT-STANDS, 

French. Open-work floral designs with 
medallion heads. Claw feet ; gilded. Blue 
glass bowls. 

Two SALT-STANDS, 
French. Basket design. 


Two SALT-STANDS, 
French. Round shape on tripod with 
lion heads and ring handles. Blue glass 
bowls. 


Two SALT-STANDS. 
Oval. Blue glass bowls mounted in 
open-work silver, of Empire design; gilded. 

Two SALT-STANDS. 


Round shape. Green glass mounted in 
silver of open-work design. Italian Renais- 
sance period. Ornamentation of floral fes- 
toons and medallion heads; gilded. 


PAIR SALT-STANDS. 
Oval. Blue glass bowls mounted in 
finely wrought silver of open-work design ; 
festoons of roses in relief. Claw feet. 


PaiR SALT-STANDS. 
To match the preceding. 


/ 
Two SALT-STANDS. 


Round. Crystal glass bowls with French 
silver mountings; Louis XIV. style; 
gilded. 


173 


572 


573 


574 


es 


576 


577 


578 


579 


580 


581 


582 


Two SALT-STANDS. Bi 
Round. Crystal glass bowls with silver — 
tripod. Mountings of early Italian design; _ 
gilded. q 
PaiIR SALT-STANDS, 


Old English. Boat-shaped with head 
handles. Blue glass bowls. 


Pair OvAL SALT-STANDS. | 
French silver. Gilded and open-work 
Empire design. Blue glass bowl. 
MuSTARD-Pot. 
French, to match the preceding. 


PaIR SALT-STANDS, 


Old English. Open-work basket design. 
Blue glass bowls. 


SALT-STAND. 
Old French. Open-work design. Head 
ornaments. Blue glass bowl. 
Pair DOUBLE SALT-STANDS, 
French. Open-work grape-vine design ; 
gilded. Blue glass bowls. 
Pair DOUBLE SALT-STANDS. 
French. Open-work grape-vine design. 
Blue glass bowls. | 
SMALL SPOONS. 
English. Shell-shaped bowls; gilded. 
4 pieces. 
SMALL SPOONS. 
French. Leaf design; gilded. 
4 pieces. 
AFTER-DINNER COFFEE-SPOONS, 
French. Head ornaments; gilded. 
6 pieces. 
174 


583 


584 


585 


596 


587 


588 


589 


59° 


591 


592 


593 


SMALL SPOONS, 
Various designs ; gilded. 
9 pieces. 
SALT-SPOONS, 
French. Head ornaments ; gilded. 
8 pieces. 
EGG-SPOONS. 
French. Twisted handles. Engraved 
bowls ; gilded. 


15 pieces. 
DESSERT-KNIVES. 
Gorham sterling. Lion crest. 
12 pieces. 
DESSERT-KNIVES. 
Gorham sterling, to match the preced- 
ing. 
12 pieces. 
GRAVY-SPOONS. 
English. King’s pattern. 
2 pieces. 
DESSERT-KNIVES. 
By Touron, Paris. Repoussé handles. 
Blades and handles gilded. 


8 pieces. 
GILDED FRUIT-KNIVES. 


By Touron, Paris. Repoussé silver 
handles. 


12 pieces. 
GILDED FRUIT-KNIVEs. 
By Touron, Paris, to match the preced- 
ing. 
12 pieces, 
GILDED FRuIT-KNIVEs. 
By Touron, Paris, to match the preced- 
ing. . 
6 pieces. 
ORANGE-SPOONS. | 
French. Grape-vine design; gilded. 


8 pieces. 


175 


594 


595 


596 


597 


598 


599 


600 


601 


602 


603 


DESSERT-SPOONS. : 
French. Gilded, to match the preced- 
ing. . 
8 pieces. 
DESSERT-SPOONS. 
French. Gilded, to match the preced- 
ing. 
12 pieces. 
DESSERT-SPOONS. 
French. Gilded, to match the preced-— 
ing. 
Io pieces. 
DESSERT-FORKsS. 
French. Gilded, to match the preced- 
ing, 
12 pieces. 
DESSERT-FORKS. P 
French, Gilded, to match the preced- 
ing. 
12 pieces. 
DESSERT-FORKs. 
French. Gilded, to match the preced- 
ing. 
SUGAR-TONGS AND SUGAR-SPOON. 
French. Gilded, to match the preced- 
ing. 


2 pieces. 
SALAD-FORK AND SPOON. 
French. Gilded, to match the preced- 
ing. ; 
2 pieces. 
TEA-SPOONS. 


French. Grape-vine pattern. 
12 pieces. 


TEA-SPOONS. 
French, to match the preceding. 
8 pieces. 


176 


604 


605 


606 


607 


608 


609 


610 


611 


612 


613 


LarGE TABLE-FORKs. 
By Touron, Paris. Grape-vine pattern. 


12 pieces. 


LARGE TABLE-FORKS. 
By Touron, Paris. Grape-vine pattern, 
to match the preceding. 
12 pieces. 
LARGE TABLE-FOoRKS. 
By Touron, Paris, to match the preced- 
ing. 
14 pieces. 
DINNER-KNIVES, 
By Touron, Paris, to match the preced- 
ing, ; 
12 pieces. 
DINNER-KNIVES. 
By Touron, Paris, to match the preced- 
ing. 
12 pieces. 
DINNER-KNIVES. 
By Touron, Paris, to match the preced- 


ing. 
14 pieces. 
TABLE-SPOONS. 
By Touron, Paris. Grape-vine pattern, 


to match the preceding. 
12 pieces. 


TABLE-SPOONS. 
By Touron, Paris, to match the preced- 
ing, 


IO pieces. 
TABLE-SPOONS. 


By Touron, Paris. Pointed bowls, to 


match the preceding. 
8 pieces. 


Soup-LADLE. 
By Touron, Paris, to match the preced- 
ing. 


12 ET? 


614 


615 


616 


617 


618 


619 


620 


621 


622 


623 


624 


625 


AFTER-DINNER COFFEE-SPOONS. 


Chased ornamentation ; gilt bowls. In 
case, ap 


II pieces, 
AFTER-DINNER COFFEE-SPOONS. 
Hammered design. In case. 
12 pieces, 
DECANTER TABLETS. 
Various. 
14 pieces. 
STRAINER. 


Funnel-shaped. Old English. 


CRUMB-SCRAPER. 
Chased ornamentation, Tiffany & Co. 


Cup AND SAUCER. 
Chased ornamentation ; gilt lined. 


INDIVIDUAL COFFEE-POTs. 
Chased Japanese design. 


2 pieces. 
Two SMALL TRAYS. 


Old English. Open-work borders and 
ball feet. 


Diameter, 6% inches. 
Two BOTTLE-HOLDERS. 


English. Louis XV. style. Repoussé 
chased ornamentation. 


SPOON-HOLDER. 
Repoussé band; scroll handle. 


LIQUEUR-FLASK. 


Russian silver. Repoussé chased orna- 
mentation. 


Nut-DIsu. 
Leaf design. Figure in relief; gilt lined. 
178 


626 


627 


628 


629 


630 


631 


632 


633 


634 


635 


636 


637 


PAIR SAUCE-TUREENS. 
Oval-shaped. Goat head and ring han- 
dles. Goat ornament to covers. 
Lovinc-Cup. 
Design of Elizabethan female figure. 
Repoussé ornamentation ; gilt lined. 
SMALL RouND TRay. 
Claw and ball feet ; beaded border. 


VASE. 
On tripod. Ball feet, repoussé chased 
ornamentation, and gilt lined. 
Height, 5 inches. 
VASE. 
Urn-shape. Leaf-pattern bands. 
Height, 7 inches; diameter, 6% inches. 
MILK PITCHER. 
Repoussé and chased ornamentation of 
classical figures and leaf patterns. 
Toast-Rack. 
Medallion-head ornaments, 


CAKE-BASKET. 
Oval shape, with top handle and medal- 
lion-head ornaments. Repoussé chased. 


SMALL PITCHER. 

Medallion-head ornaments. 

Height, 7% inches. 

BREAKFAST-CASTER. 

Plain design, with claw feet. Three cut- 

glass bottles. Tiffany & Co. 

BREAKFAST-CASTER. 

To match the preceding. 


Eco-CASTER. 
With six cups and spoons. Open-work 
design ; claw feet. 
179 


638 


639 


640 


641 


642 


643 


644 


645 


646 


647 


SQUARE TRAY. 
Japanese hammered design, Ornamen- 
tation in relief of crabs and seaweed. 
Height, 3 inches ; diameter, 8 inches. 
PICKLE-CASTER. 
Egyptian design. Two cut-glass jars. 
Tiffany & Co. 
CorreE-Port. 3 
Tall shape. Lion-head spout ; repoussé a 
chased ornamentation ; claw feet. i 


Height, 12 inches, 
SIPHON-HOLDER. 


Rich repoussé ornamentation. Tiffany 
& Co. 
LARGE DINNER-CASTER. 
Repoussé chased ornamentation. Seven 
cut-glass bottles. 
OvaL TRAY ON FEET. 
Repoussé ornamentation of leaf patterns, 
Length, 18 inches ; width, 13 inches. 
FruItT-BowL. 
Side handles and head ornaments. 
Height, 5 inches ; diameter, 814 inches. 
LARGE TANKARD. : 
Cut glass. Repoussé silver lid, with Eng- 
lish coin inserted. 3 ; 
COVERED SUGAR-BowL. 


Urn-shaped, with side handles and key- 
pattern bands. 


Height, 11 inches ; diameter, 5 inches. 


VASE. 
Globular body, with slender, spreading 


neck and base. Repoussé ornamentation. 


Scroll handles. 
Height, 13% inches. 


180 


648 


649 


650 


651 


652 


653 


654 


655 


656 


FRUIT-STAND, 

Tallform. Satin finish. Repoussé bands, 
side handles, and gilt lined. 

Height, 9 inches ; diameter, 8% inches. 
LARGE BREAD-TRAY. 

French. Oval shape, on four feet. Rich 
repoussé chased ornamentation. Scroll 
handles. 

Length, 15% inches; width, g inches. 
TALL FRUIT STAND. 
Beaded bands and scroll supports. 


Height, 9 inches ; diameter, ro inches. 


CoFFEE- URN. 
Old English style. Repoussé chased 
bands and ornaments. 
Height, 13 inches ; diameter, 7 inches. 
TEA-SERVICE. 
Comprising large tea-pot, sugar-bowl, 
and milk-pitcher, to match the preceding. 
FRUIT-STAND. 
Satin finish. Rope borders and anchor 
handles, 
Height, 10 inches ; length, 18 inches. 
PatiR CRACKER-J ARS. 


Repoussé, chased. Covers surmounted 
by figures of birds. 


Height, 7 inches ; diameter, 6 inches. 


FRUIT-STAND. 
Tall form. Medallion-head ornaments 
and beaded bands. 


Height, 9 inches ; diameter, 10 inches. 


WATER-PITCHER. 
Antique shape. Chased ornamentation 
and beaded bands. 
Height, 11 inches; diameter, 6 inches. 


I8I 


657 FRUIT-STAND. | | 
Repoussé chased floral ornamentation, . 
Tiffany & Co. . a 


Height, 5% inches ; igneous 7% inches. 4 


tae) 


id 


658 SuGAR-BowL. | 
Old English design. Repoussé chased — 

bands and ornaments. — 

Height, 9 inches; diameter, 7 inches. 


659 PITCHER. 
Antique design, Beaded bands. 


Height, 7 inches; diameter, 4 inches. 


660 VASE. . 
With head ornament handles. Repoussé _ 

chased ornamentation. 4 

Height, 9 inches ; diameter, 4% inches. 


661 CorFFEE-URN. ) 
Old English style. Repoussé chased — 

bands of leaf patterns. 
Height, 16% inches; diameter, 8 inches. 


662 IcE-WATER PITCHER AND TRAY. 
Japanese hammered design. ‘Tiffany & 


Co. 
Height, 10 inches ; diameter, 8 inches. 
663 CoFFEE-URN. : 
Empire design. Repoussé chased orna- 
mentation. 


Height, 15 inches ; diameter, 7 inches. 


664 TAL FRUIT-STAND. 


Goat’s head and ring handles. Gold 
lined. : 


Height, 8 inches ; diameter, 9 inches. 


665 Puncu-Bow1.. 
Repoussé chased ornamentation. 
Height, 10% inches; diameter, 14 inches. 


182 


666 


667 


668 


669 


670 


671 


672 


LARGE PITCHER. 


Antique shape. Rich repoussé chased 
ornamentation. Tiffany & Co. 
Height, 18 inches ; diameter, 7% inches, 


-~Corn-Bow.L. 


Twenty-three Greek and Roman coins 
inserted. 
Height, 3% inches ; diameter, 7 inches. 


ENGLISH COIN-VASE. 

Thirty-eight coins inserted. Inscription 
on rim reads, “ This cup, weighing sixteen 
ounces, was made to receive thirty-eight 
coins of English history.” 


Height, 9 inches; diameter, 5 inches. 


PatrR GERMAN COIN-VASES. 
Twelve old German coins inserted in each 
vase. Repoussé chased ornamentation. 


Height, 9 inches ; diameter, 6 inches. 


LARGE SHIELD. 

German. Repoussé ornamentation, Prus- 
sian coat-of-arms in relief and seventy Ger- 
man coins inserted. Mounted on plush 
panel. 

Height, 28 inches ; diameter, 21 inches. 
ELABORATE TROPHY VASE. 

Ewer design. Ornamented with artistti- 
cally wrought groups, illustrating a buffalo 
hunt by North American Indians. 


Height, 31 inches ; diameter, 14 inches. 


PLATED WARE 


NutT-CRACKERS. 
3 pairs. 


673 Two CicAr-TRAYS. 


183 


674 


675 


685 


6386 


687 


688 
639 


690 


NAPKIN-RINGS. ou 


oes 

Dog-head ornaments. a 
5 pieces. We 
CREAM-PITCHER. a 
Open-work design, with ruby glass bowl. _ 


7 


C1GAR-HOLDER. a 
With lamp. a 

CoLOGNE BOTTLE-STANDS. 
2 pieces. 


PORTS TI Ue GTN EF RY SR yeti er 


CHEESE-STAND. 
Repoussé ornamentation, 


CarRD-TRAY. 

Old Sheffield plate. 
SUGAR-SIFTER. 
THREE BOTTLE-COASTERS. 
Two BoTTLEe-CoASTERS. 

Old English. 
PITCHER AND TRAY. 
CIGAR-VASE. 

Open-work design. 
Icge-PITCHER TRAY. 


Hammered design. 


COVERED BUTTER-DISH. 
Tiffany & Co. 


COvVERED-V ASE. 
Repoussé ornamentation. 


COVERED BUTTER-DISH. 


Two VEGETABLE-DISHES. 
Ball feet and ring handles. 


ROAST-BEEF DISH. 
By Cristofle, Paris. 
Length, 19 inches ; width, 14 inches. 
184 


691 


692 


693 
694 


695 


696 


697 


698 


699 


FisH-DIsu. 
Tiffany & Co.’s silver solder. 
Length, 26% inches; width, 13 inches. 


MISCELLANEOUS OBJECTS 


EASEL PHOTOGRAPH FRAMES. 
Wrought in brass ; open-work design. 
3 pieces. 
EASEL PHOTOGRAPH FRAME. 
Gilt brass ; jewelled ornamentation. 


Patr CANDLESTICKS. 
Empire. Silver plated. 


Pair TRAJAN COLUMNS. 
Carved in red marble. 
Height, 25 inches ; diameter, 5 inches. 
PatIrR VASES. 
French enamel on bronze. Chinese de- 
sign; finely wrought. Gilt mountings, 
Height, 14 inches ; diameter, 6 inches. 
LARGE TANKARD. 


Vienna silver and gilt, ornamented with 
various coins. 


Height, 22 inches ; diameter, 10 inches. 


Onyx VASE. 


Mounted in finely wrought gilt bronze ; 
enamelled. 


Height, 22 inches ; diameter, 12 inches. 


BRONZES 


BRONZE GROUP. 


Equestrian figure of Napoleon. By 
Nieuwerkerke. 


185 


700 


701 


702 


793 


704 


ios 


706 


7°97 


708 


BRONZE GROUP. 


Children playing leap-frog. By F. >. 


Louain, 
Height, 7 inches ; length, 11 inches. 


Pair Busts. 
Michael Angeloand Dante. By Carrier. 


Silvered and gilt. With tall marble column a 


pedestals. 
Height, 27 inches. 


PaiR EMPIRE VASES. 


Urn-shaped, on pedestals. Green patina; 
onyx gilt mountings, and ornaments, 


Height, 14 inches; diameter, 6 inches. 


Pair Louis XVI. CANDLESTICKS. 
Finely wrought gilt bronze. 
Height, 13 inches. _ 


PatIR EMPIRE CANDLESTICKS. 
Finely wrought in bronze and gilt. 
Height, 14 inches. 
GROUP. 


St. George and the Drasony Gut 


bronze. 
Height, 12 inches. 


PaIR EMPIRE VASES. 


Urn-shaped, on permanent pedestals. 
Green bronze, with gilt ornaments and 
mountings. 


Height, 15 inches; diameter, 7 inches. 


Pair Louis XVI. CANDLESTICKS. 
Wrought in bronze and gilt. 
Height, 16 inches. 
BRONZE FIGURE. 
By E. Uzel. On black marble plinth. 
Height, 16 inches; width, 11 inches. 
186 


Eartha mene et 
— 


SS 


799 


710 


711 


712 


713 


714 


175 


pal 


PAIR BRONZE FIGURES. 


Priest of Isis and companion. By Picault. 
Brown patina and gilt ornamentation. Red 
and black marble plinths. 


Height, 21 inches ; diameter, 7 inches. 


BRONZE FIGURE. 


Mercury. Antique patina. Mounted on 
-Egyptian and Sienna marble pedestal. 
Height, 26 inches. 
Pair BRONZE FIGURES. 
Mephistopheles and the witch. 
Height, 27 inches. 
BRONZE Bust. 


Marguerite. By C. Ceribelli. Red mar- 
ble plinth. 


Height, 23 inches ; width, 12 inches. 


BRONZE Bust. 
Companion to the preceding. 


BRONZE Bust. 
Life size. Beatrice. By Jules Faber. 
Height, 27 inches ; width, 14 inches. 


BRONZE Bust. 
Life size. Rosalind. By A. Mario. 
Height, 27 inches ; width, 14 inches. 


a 


BRONZE GROUP. 


Amazon and Tiger. By Kiss, of Berlin. 
Fine green patina. Mounted on red mar- 
ble pedestal. 

Height, 18 inches ; width, 15 inches. 


BRONZE BUST. 
La Coquette. By G. Vander Strake. 
Height, 21 inches ; width, ro inches. 


187 


718 


719 


720 


721 


722 


723 


724 


725 


726 


BRONZE FIGURE. 
Young Love. By August Moreau. Gilt 2 
finish. aaa 
Height, 25 inches. 

PEDESTAL FOR THE PRECEDING. 


Carved mahogany. 
Height, 45 inches. 


BRONZE GROUP. 


‘“‘ Chasse a la gazelle au Guepard Perse.” 
By Dubucand. 


Height, 22 inches ; width, 17 inches. 


BRONZE BELL. 
Antique design. Gilt finish, with gilt- 
bronze supports and black marble plinth. 


Height, 20 inches; width, 20 inches. 


BRONZE FIGURE. 
La Coquette, By Fabri. 


Height, 34 inches; diameter, 11 inches. 


PEDESTAL FOR THE PRECEDING. 


Green marble. Corinthian column de- 
sign, 
Height, 40 inches ; diameter, 14 inches. 
LARGE BRONZE VASE. 


Etruscan design. Bacchanalian heads in 
bold relief ; gilt finish. 


Height, 26 inches ; diameter, 14 inches. 


PEDESTAL TABLE FOR THE PRECEDING. 
Finely wrought in gilt bronze. 


Height, 38 inches ; diameter, 12 inches. 


BRONZE BUvuSsT. 

Turkish Woman. By Z. Rimbez. Brown 
patina, enamelled, and gilt ornamentation ; 
red marble base. 

Height, 27 inches ; diameter, 12 inches. 
188 


727 


728 


729 


730 


731 


732 


733 


734 


735 


736 


PEDESTAL FOR THE PRECEDING. 


Mexican onyx, Column design. Mounted 
in gilt bronze. 


LIFE-SIZE Bust. 


Lorenzo. By Rancoulet. Gray marble 
base. 
Height, 30 inches ; diameter, 16 inches. 


LiFre-S1zE Bust. 


Clarice. By Rancoulet. Companion to 
the preceding. 


Height, 30 inches ; diameter, 16 inches. 


PAIR PEDESTALS FOR THE PRECEDING. 
Mexican onyx mounted in finely wrought 
gilt bronze. Column design. 
Height, 44 inches. 
BRONZE STATUETTE. 
The Kiss. By Lecorney. 
Height, 21 inches. 


PEDESTAL FOR THE PRECEDING. 


Mexican onyx. Column design. Mounted 
in gilt bronze. 


BRONZE STATUETTE. 
The Salutation. By A. Gaudez. 


PEDESTAL FOR THE PRECEDING. 


Mexican onyx. Column design. Mounted 
in gilt bronze. 


LiFE-S1ZE Bust. 
Dona Sol, By A. Dulos. 


Height, 27 inches ; diameter, 16 inches. 


PEDESTAL FOR THE PRECEDING. 


Egyptian marble. Column design. 
Gilt-bronze mountings, 
189 


pov 


738 


re, 


740 


741 


742 


743 


744 


Pair LIFE-SIZE Busts. | , 
Japanese girl and Ethiopian girl. 
Finely wrought in bronze. By Truflot. 
Height, 32 inches ; width, 18 inches. 


PAIR PEDESTALS FOR THE PRECEDING. 
Wood, upholstered in plush. 
Height, 52 inches. 


Pair BRONZE STATUETTES. 


Bernard Palissy and Benvenuto Cellini. 
Tiffany & Co. 


Height, 24 inches ; width, 16 inches. 


LIFE-SIZE BUST. 


Zeibecke. By Guillemin. Egyptian mar- 
ble base. 


Height, 34 inches; width, 24 inches. 


PEDESTAL FOR THE PRECEDING. 
Elaborately wrought in bronze and 
marble. Satyr-head support to top. 


Height, 51 inches ; diameter, 14 inches. 


LIFE-SIZE BusT. 


Woman of Smyrna. By Guillemin. 
Companion to No. 740. 


PEDESTAL FOR THE PRECEDING, 


Elaborately wrought in bronze and mar- 
ble. Companion to No. 741. 


WILLIAM CULLEN BRYANT VASE. 
Facsimile of the artistically wrought 
silver vase known as the “Bryant Com- 
memorative Vase,” now in the Metropolitan 
Museum of Art. The original and fac- 
simile by Tiffany & Co. 
Height, 34 inches; diameter, 14 inches. 


190 


745 


746 


747 


748 


749 


45° 


751 


152 


iv 


PaiR CANDELABRAS. 
Finely wrought gilt bronze. Seven 
lights each. Early Victorian design. 
Height, 31 inches. 
PAIR CANDELABRAS, 
Finely wrought gilt bronze. Louis XV. 
design. Seven lights each. 


Height, 28 inches ; diameter, 8 inches. 


Pair GILT BRONZE FIGURES. 
Japanese nobleman and lady. 


Height, 24 inches ; diameter, 7 inches. 


Pair LARGE HEBE VASES, 
Finely wrought in bronze and gilt brass. 


Height, 38 inches; diameter, 17 inches. 


PAIR BRONZE TALL LAMPS. 


English Gothic. Cathedral design. 
Green patina and gilt ornamentation. 


BRONZE FIGURE. 
Mercury. By Barbedienne. On black 
marble base. 
Height, 48 inches. 
PEDESTAL FOR THE PRECEDING. 
Tall column design. Finely wrought in 
bronze, with marble base and top. 
Height, 61 inches. 
LARGE BRONZE VASE. 


Etruscan design. Relief and gilt orna- 
mentation of classic figures, 
Height, 27 inches ; diameter, 15 inches. 


PEDESTAL FOR THE PRECEDING. 
Egyptian design. Finely wrought in 
bronze. Black marble top. 


Height, 42 inches; diameter, 14 inches, 


1gI 


754 BRONZE GROUP. 
‘‘Prenez Garde du Chien.” By Le- 
courtier. 
Height, 36 inches ; diameter, 26 inches. 
755 LARGE BRONZE GROUP. 


Equestrian figure of Francis I. By 
Moris. 
Height, 32 inches ; length, 34 inches. 


756 LiFrE-S1ZE BRONZE FIGURE. 
The Diver. By O. Tabacchi, Turin, 
1878. 
Height, 45 inches. 
757 PEDESTAL FOR THE PRECEDING. 
Griffin design. Carved wood, ebonized q 
and gilt. 
Height, 41 inches. 
758 LARGE BRONZE FIGURE. . 
The Cavalier, By Rancoulet. 
Height, 50 inches. 


759 PEDESTAL FOR THE PRECEDING. 


Carved wood, ebonized. 
Height, 36 inches. 


760 PAIR LARGE JAPANESE BRONZE Koros. 
Bold relief ornamentation of hawks, pine 
trees, and other designs. Fish and water 
on bases. Groups of storks for handles. 
Eagle on rock, and badger surmounting 
covers. 


Height, 31 inches ; diameter, 22 inches. 


192 


CLOCKS AND ELABORATE CLOCK 
SETS, VALUABLE STATUARY, 
ART FURNITURE, AND OTHER 
OBJECTS 


ee 


NO. 835—** MORNING’’—ELABORATE GROUP IN CARRARA MARBLE, 


BY D. BARCAGLIA. 


FOURTH AND LAST AFTER. 
NOON’S SALE 


Friday, February 16th 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O’CLOCK 


CLOCKS AND CLOCK SETS 


761 HANGING CLOCK. 
Lantern design on bracket. Wrought in 
gilt bronze and Berlin iron, Calendar 
attachment. 


762 EMPIRE CLOCK. 


Vase design in crystal glass. Gilt-brass 
mountings. 


763 MAHOGANY AND Brass CASE CLOCK. 


With bas-relief figures of shepherd, 
sheep, and floral design. Mouldings in 


gilt bronze. 
Height, 17% inches. 


764 EMPIRE CLOCK SET. 
Clock by Leroy a Paris. Design of 
figure of African carrying a bale; and a 
pair of urn-shaped vases ; all in gilt bronze, 
finely wrought and chiselled. 


195 


765 


766 


767 


768 


769 


77° 


771 


EMPIRE CLOCK SET, 


In crystal glass, Mounted in finely — 
wrought gilt bronze. Comprises clock 
mounted in urn-shaped vase, and two side 
pieces to match. 


EMPIRE CLOCK SET. 

Gilt-bronze clock, with figure of Cupid 
in relief, and bas-relief illustrating art, 
science, and literature, and pair of urn- — 
shaped vases on pedestals, with relief 
ornamentation. 


EMPIRE CLOCK, 


Black marble, with gilt-bronze mount- — 
ings and ornaments. Column design. 


MANTEL CLOCK. 
Early French classic design, in green 
bronze, surmounted by figure of Neptune. 
Gilt-bronze mountings and bas-relief. 


CLock SET. 

Elaborately wrought burnished brass. 
Comprises large clock of Louis XV. de- — 
sign, and two seven-light candelabras to 
match. 


Cock SET. 

Clock of red marble. Ornamented with 
gilt and silver bronze and surmounted by 
a group of Ganymede ; and pair of Hebe 
vases, with bas-relief bands and classic 
figures and masks. Henry T. Cox & Co. 


Louis XV. BRACKET CLOCK. 
Inlaid with brass, and ornamented with 
gilt-bronze figures and floral designs. 
Height, 43 inches ; diameter, 24 inches. 
196 


772 EBONY AND ORMOLU CLOCK. 
Empire design. Form of Grecian temple. 
Finely chased ormolu mountings. 
Height, 28 inches. 


773. Louis XVI. GILT-BRONZE CLOCK SET. 
Clock of pilgrim-bottle design. Elabo- 
rate mountings of vines, ribbons, leaves, 
and flowers, surmounted by acorns. Very 
finely chiselled female heads on front and 
back; pair of urn-shaped side pieces to 
match, 
Height of clock, 29 inches. 
774 CRYSTAL AND GILT-BRONZE MAGIC CLOCK. 
Made by Robert Houdin, Paris. Pillar 
of clock supported by four griffins resting 
on an elaborately chased platform. 
Height, 23 inches. 


775 CRYSTAL AND ORMOLU CLOCK SET. 
Lyre-shaped clock, with elaborate ormolu 
decorations. First Empire style. Pair of 
amber crystal vases to match, 
Height of clock, 29 inches. 
776 ORMOLU CLOCK. 
With figure of Mercury and emblems of 


commerce. Floraland emblematic designs 


in low relief. 
Height, 21 inches. 


777 Pair OF SIx-LIGHT ORMOLU CANDELABRA. 
Figures of Mercury and goddess rest- 


ing on urn-shape vases, supporting cluster 
of lights. 


778 CRYSTAL AND ORMOLU CLOCK SET. 
Lyre-shaped clock, with elaborate ormolu 
decorations. First Empire style. Pair of 
crystal and ormolu vases to match. 
Height of clock, 24 inches. 
197 


779 


780 


782 


783 


ORMOLU CLOCK SET. 
Clock, with figures of reclining cupids, 
and vase of turquoise-blue, with Sévres 


decoration on top. Eight plaques of Sévres — 


style on front and ends, and very elaborate 
floriated bronze mouldings. Pair of elabo- 
rately decorated Hebe vases, resting on 
kneeling cupids, to match, 


CuLock SET, 


Black and red marble clock, surmounted > 


by bust of cavalier of Louis XIV. period, 
by A, Carrier, and pair of bronze and 
marble urn vases, with classic designs in 
bas-relief. 


CRYSTAL AND ORMOLU CLOCK. 

Empire lyre design. Very elaborate sun 
design face. Swans’ necks at top. Musical 
chimes. 

Height, 24 inches, 
Louis XV. BRACKET CLOCK. 

By Balthazar, Paris. Buhl inlaid, and 
surmounted by gilt-brass figure. Boldly 
modelled scroll mountings. 

Height, 60 inches. 
EMPIRE CLOCK SET. 

Clock of ormolu surmounted by Sévres 
style vase, which is decorated by paint- 
ing of cupids and pastoral subjects, by L. 
Grisée. Elaborate ormolu mounts of pip- 
ing cupids and flowers. Face of clock, 
of porcelain, with finely painted figure 
of cupid and flowers. Five plaques in 
Sévres style of decoration in panels at 
sides and back ; finely modelled gilt-bronze 
cupids in relief. Cornucopia in wreath and 
flowers, by Bourdin of Paris. Pair of 
Sévres style vases, decorated with paintings 
of landscape and pastoral subjects, by L. 
Grisée, to match the clock, 


198 


hs 


Lo 
} 


784 Louris XVI. CLock SET. 

Clock ; movement of which is set in a 
bleu-de-Rot Sévres style vase. Decorated 
with wreaths and ribbons in gold, and 
mounted on a base of gilt bronze, with six 
decorated porcelain panels inserted, sur- 
mounted by finely modelled groups, Sci- 
ence and Literature, and embellished with 

- wreaths of flowers and elaborate chiselled 
mouldings. Pair of eight-light candela- 
bras to match. 

Height of clock, 26 inches, 


785 ELABORATE CLOCK SET. 

Consisting of an Algerian onyx and 
ormolu clock, made by Barbedienne, Paris. 
Surmounted by superbly modelled reclining 
figure of sleeping woman, and a pair of ten- 
light candelabra supported by urn-shape 
vases, with branches of ormolu in floral de- 
sign, and elaborate floral trophy at the top ; 
finely wrought ormolu mounts of female, 
and lions’ heads, leaves, and scroll. 


Height of clock, 35 inches. 


786 EMPIRE CLOCK SET. 

Consisting of an elaborate red marble 
and bronze clock, which is surmounted by 
finely modelled bronze figures of Cupid 
and Psyche, and with elaborate gilt-bronze 
mounts, and a pair of red marble and bronze 
ten-light candelabras supported by bronze 
figures standing on globe, upholding the 
cluster of lights, and elaborately ornamented 
to match the clock. 


787 Manocany HALL CLOCK. 
With chimes. 
199 


STATUARY 


788 MARBLE AND BRONZE BUST. . 
The Young Moor. By R. Pereda, Milan. 
Height, 21 inches. s 


789 PEDESTAL FOR THE PRECEDING. 
Carved mahogany. Louis XV. design. 
Height, 45 inches. 


790 MARBLE Bust. | 
Marguerite in Happiness. By E. Aizelin. 


Born at Paris, July 10, 1821. Pupil of Ramey 
and Dumont, he devoted himself, by preference, fol- 
lowing the new direction which French art was 
taking at the time he entered the field, to the creation 
of graceful female subjects—women and maidens— ~ 
treated with close adherence to nature in the forms. 
He has made, beside, a few statues for the churches 
of Paris. To the former group of subjects belong 
his ‘‘ Nyssia in the Bath,” and a “‘ Psyche with the 
Lamp” (this latter in the Luxembourg), a ‘‘ Hebe,” 
and a ‘‘Captured Amazon” (1875), with other 
statues in the museums of Montpellier and Nantes ; 
also a statue ‘‘ The Dance,” for the Chatelet Theatre 
(1861); the figure of ‘‘Idyllic Poetry,” for the 
Opera House at Paris. In 1867, Aizelin was made 
a knight of the Legion of Honor. 


Height, 25 inches. 


791 PEDESTAL FOR THE PRECEDING. 
Mexican onyx. Column design. Mounted 
in gilt bronze. 
Height, 44 inches. 
792 MarsLe Bust. | 
Marguerite in Regret. By E. Aizelin. 


Companion to No. 790. 
Height, 23 inches. 


793 PEDESTAL FOR THE PRECEDING. 
Mexicanonyx. Column design. Mounted 


in gilt bronze. 
Height, 44 inches. 


200 


794 MarBLeE Bust. 
La Vanita. By Gelindo Monrir, Milan. 
Height, 29 inches ; width, 16 inches, 


794A PEDESTAL FOR THE PRECEDING. 
Rose antique marble, with green-bronze 
head support. Revolving top. 
Height, 49 inches. 
795 MARBLE Bust. 
Egyptian Woman. By Pessina Carlo, 
Milan. 
Height, 29 inches ; width, 18 inches. 
796 PEDESTAL FOR THE PRECEDING. 
Rose Antico marble, with green bronze 
head supports. Revolving top. 
Height, 49 inches. 
797 MARBLE Bust. 
Flora. By Professor Richard H. Park. 
Height, 26 inches. 


798 PEDESTAL FOR THE PRECEDING. 
Column design in Rose Antico marble. 
Revolving top. 
Height, 45 inches ; diameter, 11 inches. 


799 MARBLE Bust. 
Purity. By Professor Richard H. Park. 
Height, 25 inches. 


800 PEDESTAL FOR THE PRECEDING. 
Green marble. Column design. Revolv- 
ing top. 
Height, 60 inches ; diameter, 11 inches. 
801 MARBLE Bust. 
Empress Eugénie. By Laurance Mac- 
donald. Dated, 1861. 
A Seottish sculptor, born in 1798, passed the 
greater part of his mature life at Rome. His sub- 
jects are mostly taken from the Greek and Roman 


mythology and are treated in the pure classical style. 


Died, March 4, 1878. 
Height, 27 inches. 


201 


802 PEDESTAL FOR THE PRECEDING. 
Green marble. Columndesign. Revolv- 
ing top. 
Height, 60 inches ; diameter, 12 inches. 
803. MARBLE Bust. | 
William H. Seward. By Chauncey B. 
Ives. Dated, 1857. 
Height, 30 inches. 
804 PEDESTAL FOR THE PRECEDING. 
Green marble. Columndesign. Revolv- — 
ing top. 
Height, 60 inches ; diameter, 12 inches. 
805 MARBLE Bust. 
Houdin’s Washington. 
Height, 31 inches. 
806 PEDESTAL FOR THE PRECEDING. 


Giallo Antico marble. Quadrangular 
column design, with Egyptian and white 
marble base. | 


Height, 50 inches ; diameter, 11 inches, 


807. MARBLE Bust. 
Rosmunda. By M. Ezekiel, Rome, 1880. 
Height, 30 inches. 


808 PEDESTAL FOR THE PRECEDING. 
Carved statuary, marble. Lion design. 
Height, 42% inches, 
809 MARBLE Bust. 
Vanity. 


810 PEDESTAL FOR THE PRECEDING. 
Green marble. Column design. 


Height, 42 inches; diameter, 11 inches. 


811 MARBLE Bust. . 
Sappho. By Professor Richard H. Park, 
Height, 28 inches. 


202 


812 


813 


814 


815 


816 


817 


PEDESTAL FOR THE PRECEDING. 


Green marble. Column design. Relief 
ornament of symbol of music. 


Height, 43 inches; diameter, 12 inches. 


MARBLE STATUE. 


Colpo di Vento. By E, Del Panta. 


Florence, 1882. 
Height, 46 inches. 


PEDESTAL FOR THE PRECEDING. 


Carved wood, ebonized. Column design. 
Revolving top. 


Height, 37 inches ; diameter, 14 inches, 


LiFE-S1zE Bust. 
John Van Buren. 


PEDESTAL FOR THE PRECEDING. 
Louis XV. design. Ebonized wood, with 
gilt-bronze mountings and ornaments. 
Height, 49 inches. 
MARBLE BUST. 
George Washington. By Thomas Craw- 
ford. 


Born in New York, March 22, 1813; died in 
London, October 16, 1857. He began his profes- 
sion in the marble-yard of Launitz, then went to 
Rome, where he was encouraged by Thorwaldsen, 
and produced his first important work, the ‘‘ Or- 
pheus,” now in Boston. A statue of Beethoven, the 
gift of the late C. C. Perkins, belongs to the Music 
Hall Association in the same city, and his statue of 
James Otis is in the chapel of the Mt. Auburn 
Cemetery. Crawford’s principal work is at Wash- 
ington, where he executed a number of bas-reliefs 
for the Capitol, and the statue of Liberty which 
crowns the dome of that building. 

Height, 25 inches. 


818 PEDESTAL FOR THE PRECEDING. 


Egyptian marble. Column design, with 


gilt-bronze mountings. 
Height, 49 inches. 


203 


819 


820 


821 


822 


823 


824 


825 


826 


827 


828 


MARBLE Bust. 
Pauline Bonaparte. qe 

Height, 22 inches. 

PEDESTAL FOR THE PRECEDING. 


Egyptian marble. Column design, with 


gilt-bronze mountings. 
Height, 49 inches. 


MARBLE Bust. 
Esmeralda. By Salvator Albano. 
Height, 25 inches. 


PEDESTAL FOR THE PRECEDING. 
Polished green marble. Column design, 


Height, 45 inches ; diameter, 12 inches. 


MARBLE STATUETTE. 


La Papillon. 
Height, 31 inches. 


PEDESTAL FOR THE PRECEDING, 


Egyptian design. Upholstered in leather, 
and ornamented with copper disks of open- 


work, 
Height, 43 inches. 


MARBLE BUST. 


Maidenhood. By Professor Richard H. 
Park. Dated, 1868, 
Height, 24 inches. 
PEDESTAL FOR THE PRECEDING. 


Egyptian column design, with bronze 
mountings and ornaments. Revolving top. 
Height, 43 inches. 


MARBLE AND BRONZE Bust. 
Othello. By Pietro Calvi, Milan. 
Height, 27 inches. 


PEDESTAL FOR THE PRECEDING. 
Green marble. Column design, 
Height, 42 inches ; diameter, 12 inches. 
204 


829 MarBLE Bust. 
Eleonora. By Chauncey B. Ives. 
Height, 30 inches. 


830 _ PEDESTAL FOR THE PRECEDING. 


Column design. Rose Antico marble, 
with white and gray marble base and white 
marble revolving top. 


Height, 50 inches ; diameter, 12 inches. 


831 Lire-SizE FIGURE. 


Undine. Sculptured in Carrara marble, 
by Chauncey B. Ives. With Egyptian mar- 
ble revolving pedestal. 


The late Chauncey Bradley Ives was born in New 
Haven, Conn., December 14, 1810. Though he 
early showed his inclination for sculpture in his love 
of wood carving, he did not take it up seriously till 
he was twenty-seven years of age, when he went to 
Boston to study. He was fortunate in making a 
success of his first bust. This brought him some 
orders. He opened a studio and remained in Boston 
some years, till in 1844 he went to Florence. From 
Florence he moved to Rome in 1851, and it was 
there he spent the rest of his life, and there he died 
in August, 1894. Among his works are the statues 
of Roger Sherman and Jonathan Trumbull, Con- 
necticut’s gift of statuary to the Hall of Represen- 
tatives in the Capitol at Washington ; the colossal 
statue of Bishop Brownell, founder of Trinity Col- 
lege, at Trinity College, Hartford ; the ‘‘ Captive’s 
Choice,” a bronze group of three figures presented 
to the City of Newark, N. J., by Dr. Jonathan 
Ackerman Coles, son of Dr. Abraham Coles, the 
translator of ‘‘ Dies Ire”; a statue of Noah Web- 
ster; and busts of William H. Seward, Gen. Win- 
field Scott, etc., etc. Most of his works are owned 
by private individuals here and in England. 


Height of figure, 77 inches ; 
Height of pedestal, 25 inches. 


205 


832 LiFE-SIZE STATUE. 


Eve Tempted. By Hiram Powers; with 
pedestal. | 


Hiram Powers was born in Woodstock, Vermont, 
July 29, 1805; died in Florence, Italy, June 27, 
1873. 

In 1817 his parents removed to Cincinnati, where 
he worked with energy and industry at any mechan- 
ical employment that came to hand. He developed 
remarkable ingenuity in the contrivance of figures 
moving by machinery to the accompaniment of 
music. A bust of Napoleon, by Canova, having 
come under his notice, he was excited by the desire 
to become a sculptor, for which art he had had no 
further training than was supplied by instruction in 
the taking of plaster casts from models, in which 
he had been taught by a Prussian acquaintance. 
Assisted by Mr. Longworth, he went to Washington 
and there found sufficient employment in making 
busts to enable him to lay up a little money toward 
getting to Italy. Assisted by Colonel Preston and 
Mr. Longworth, he went to Italy in 1837, and settled 
down into what was to prove a life-long residence. 
His work consisted largely in the making of busts, 
in which field he gained a wide popularity in Europe 
as well as in his native country. In 1843 he produced 
the statue of the Greek Slave, a work which had an 
immense success, fixed his reputation the world over, 
and gave a great impetus to the slowly growing 
culture of art in this country. 

Other works by Mr. Powers are the ‘‘ Fisher 
Boy,” ‘‘America,” ‘‘ California,” “‘ Il Penseroso,” 
‘*Eve Tempted,” ‘‘ Paradise Lost,” with statues of 
Calhoun and Webster. During his long residence 
in Florence, Mr. Powers’ house was the centre of 
hospitality to his travelling countrymen, who found 
in him an American of the old-fashioned type, quite 
unspoiled by foreign life and manners, maintaining 
a republican rusticity and homeliness in the midst of 
influences which few are found to resist. Nathaniel 
Hawthorne, in his /talan Journal, has much to say 
about Powers; the chapters about Florence are, 
indeed, largely taken up with notes of the conversa- 
tions between him and the sculptor. 


Height of figure, 70 inches. 
206 


833 Lire-SizE STATUE. 
Paradise Lost. By Hiram Powers. 


Companion to the preceding, executed to order for 
the late N. D. Morgan, Esq., Brooklyn. 


Copy of letter from Hiram Powers, Esq., to N. 
D. Morgan, dated Florence, Dec. '7, 187%. 


Pi veean SIR: 2... You desire that I 
should give you something of the history of my work, 
which is now on its way to you, in order that you 
may see it, as it were, through the medium of the 
author’s eyes. Well, then, I had already produced 
a statue of ‘‘ Eve Tempted,” which was, indeed, my 
first ideal figure—and the same now in the posses- 
sion of Mr. A. T. Stewart, of New York ; but I was 
not satisfied with my first attempt, as, indeed, the 
Temptation of Eve did not afford an opportunity for 
the expression of bewilderment, distress, and re- 
morse which must have appeared on the face and in 
the attitude of Eve, when she replied, ‘‘ The serpent 
beguiled me, and I did eat.” It is less difficult, in 
painting or sculpture, to give a single than a com- 
pound expression—simple grief or joy is much easier 
to render than grief with remorse, or joy with a sigh 
lingering within the expression of the features. 

We see these subtleties in nature—but to render 
them in art requires something more than artistic 
science. The artist must not only see his way (sci- 
ence), but he must also feel his way. In short, he 
must work from the heart as well as from the brain, 
and his work then reflects back upon him, as it were, 
the offspring of his will and understanding. The 
will has conceived, the understanding has produced ; 
and hence allow me to say, that without understand- 
ing—that is, without learning, knowledge, science, 
practice, experience, study—no one, however great 
may be his genius, can produce a genuine work of art. 
As well might we expect a poem from one who can 
neither read nor write. 

I could never satisfy myself with an ideal work in 
a hurry. The human form is infinite. It is the 
‘*Image of God;” and I have found that, do my 
best, there was always a éetfer in nature. Once 
knowing this, I have hesitated, and sought to find 
it, and this is the way to fame. One may fail, with 
all his care and labor, but it is the only way. Not 


207 


834 


835 


they who have produced the most, but they who 
have done the best, stand foremost in the end. I 
never felt that I had the power to change an hun- 
dred statues—I exhaust myself on a few. This 
accounts for the fact that I found it necessary to 


give nearly one year’s time, in all, to the model _ 


alone of your statue of Paradise Lost. I continually 
found something to be improved, and am far from 
presuming it to be perfect. JI aimed at nobleness of © 
form and womanly dignity of expression. She is 
forlorn, but does not quite despair, for she looks up 
imploringly. She accuses the serpent with one 
hand, and herself most with the other. The ser- 
pent retires, for Lve repents—she now resists evil. 

She is not a goddess, but a woman, a primitive 
woman, the mother of mankind. She has never 
been in society, nor is she educated. Such has been 
my design, but imperfectly carried out. I trust you 
will make due allowance. : 

I am, dear sir, faithfully your ob’t serv’t, 


HIRAM POWERS. 


Height of figure, 76 inches ; 
height of pedestal, 15 inches, 


LIFE-SIZE STATUE. 
Pandora. By Chauncey B. Ives. With 
rose marble revolving pedestal. 
(For biography of sculptor, see No. 831.) 


Height of figure, 67 inches ; 
height of pedestal, 27 inches, 


ELABORATE GROUP. 
_ Morning. By Donato Barcaglia, Milan. 
With handsome sculptured marble pedestal. 


Height, 9 feet, 6 inches ; 
diameter, 3 feet, 6 inches. 


(Gs The above group may be seen at No. 7 West 34th 
Street on presenting permit, which may be had at the office 
of the American Art Association. 


208 


836 


837 


838 


839 


840 


- 84r 


MISCELLANEOUS 


Pair VASES. 

Urn-shaped. Sevres style of decoration. 
Paintings of cupids and flowers on green 
glaze. Rich ormolu mounts, with plush- 
covered pedestals. 

Height, 22 inches; height of pedestals, 57 inches. 


COLUMNAR PEDESTAL. . 
Mexican onyx, with gilt-bronze mount- 
ings ; revolving top. 
Height, 44 inches. 
COLUMNAR PEDESTAL. 
Green marble. 
Height, 42 inches ; diameter, 12 inches. 


VASE. 

French porcelain, d/eu-de-Roi glaze. Dec- 
oration of scrolls and musical instruments 
in gold. Mounted as a lamp. 

Height, 28 inches. 


VASE. 
Urn-shaped. Sévres style of decoration. 
Pastoral subject and flowers, painted by 
Bertran. Gilt-bronze mouldings. Mounted 


as a lamp. 
Height, 28 inches. 


VASE, 

Urn-shaped. Sévres style of decoration. 
Pastoral and floral subjects in panels, by 
Bertran. Turquoise-blue glaze, with em- 
bossed gold embellishment. Mounted as 
a lamp. Ornaments and mouldings of 


gilt bronze. 
Height, 28 inches. 


841A ELECTRIC LAMP. 


Portable. Of highly polished brass, with 
perforated screen. 


14. 209 


842 


843 


844 


845 


846 


847 


848 


849 
850 
851 
852 


853 


ART FURNITURE 


TRIPOD STAND. 
Mahogany. 


LApDy’s DRESSING TABLE, 
Mahogany. Inlaid, with drawers and 
mirror. ‘ 


TABLE. ie 
Handsomely carved ebony. Mexican 
onyx top. — a 
Music CABINET. ss 
Empire period. Inlaid and decorated. ae 
Brass mountings. a 
GILT EASEL. 
Richly carved. 


TURKISH ARMCHAIR. 
Ebony. Inlaid with ivory and mother- 
of-pearl. 


CARD RECEIVER. 


Sévresstyle. Richlydecorated. Mounted 
on an elaborately ornamented brass tripod 
stand. a 


PatR HALu CHAIRS. 
Carved walnut. With claw feet. 


Pair HALL CHAIRS. 
Carved walnut. 


HALL SEAT. 
Carved walnut. 


TABLE. 
Gilt. Circular form, 


CHIPPENDALE TABLE. 
Round. Low form. 


210 


854 


855 


856 


857 


858 


859 


860 


861 


— 862 


863 


864 


Bric-A-BrRac CABINET. 
Mahogany. Circular form. With glass 
doors, sides, and shelves. 
Music CABINET. 
Gilt. Bevelled plate-glass doors and 
. sides. 
TABLE. 
Onyx and plush. 


BRIC-A-BRAC TABLE. 
Mahogany. Beautifully inlaid. 


Music CABINET. 
Mahogany. With brass mountings. 


Bric-A-BRAcC STAND. 
Mahogany. Richly inlaid. 


MARQUETRY CENTRE TABLE. 

Top richly inlaid with mother-of-pearl, 
ivory, and various colored woods, of fruit, 
and conventional floral designs. Mounted 
on an elaborately carved tripod stand of 
grape-vine, grapes, and bird. 

LIBRARY TABLE. 
Rosewood. Richly inlaid. Mexican 
onyx top. 
Bric-A-Brac CABINET, 
Mahogany and satin wood. Mirror back. 
Height, 66 inches ; width, 43 inches. 


Bric-A-Brac CABINET. 

Swell front. Glass front, sides, shelves, 
and mirror back. Elaborate brass mount- 
ings. 

Height, 63 inches ; width, 32 inches. 
CENTRE TABLE. 

Mahogany and walnut inlaid. Varie- 

gated marble top. 


211 


865 


866 


867 


868 


869 


870 


871 


872 


873 


CENTRE TABLE. a 
Mahogany. Richly inlaid. Elaborate 
decoration of wreaths, flowers, and ribbons. 


STAINED-GLASS SCREEN. 


Three folds. Ebony frame, with richly 
painted panel on the centre fold. 


CoRNER Bric-A-BrRAcC CABINET. 


Mahogany. Glass swell front. Shelves 
and mirror back. Brass mountings. | 
Height, 63 inches; width, 28 inches. 


SEWING TABLE. 
Mahogany. Inlaid. 


EMPIRE CENTRE TABLE. 


Very finely chased ormolu mounts. 
Variegated marble top. 


Bric-A-BRAC CABINET, 


Rosewood. Louis XV. style. Chased 
brass mounts. Glass front and sides and 
shelves. Mirror back. , 

Height, 62 inches ; width, 44 inches. 


OvaL CENTRE TABLE. 
Very elaborate marquetry. Folding top. 


Bric-A-BRAac CABINET. 

Mahogany. Glass front, sides, and 
shelves. Mirror back. Richly inlaid. 
Floral designs in front and side panels. 
Brass mountings, 

Height, 69 inches ; width, 32 inches. 


CYLINDER DEsK. 
Mahogany. Marquetry inlaid; spindle 
legs. Panels elaborately inlaid with Adam’s 
style of decoration. 


212 


874 


875 


876 


877 


878 


879 


880 


PARLOR TABLE. 


Louis XV. style. Ebony and _ brass 
inlaid. Elaborate brass mountings. Cab- 
riolet legs. Embossed plush top. 


PARLOR CABINET. 


Louis XV. style. Ebony and_ black 
walnut. Elaborately decorated, with carved 
panels of classic subjects and floral designs. 
Fluted columns, with Ionic caps; black 
marble top; brass mountings. 


Height, 56 inches ; width, 61 inches, 


COMPANION TO THE PRECEDING. 


CENTRE TABLE. 


Black walnut ; onyx top. Panels of richly 
inlaid marquetry. Bas-relief bronzes of 
cupids and cherubs. Elaborate gilt-bronze 
mouldings ; carved legs. © 


EMPIRE CENTRE TABLE. 


Mahogany; onyx top. Finely chased 
ormolu mounts of masks, leaves, and sym- 
bols ; brass feet. 


EMPIRE Bric-A-BRAC CABINET. 


Mahogany. Bevelled plate top and 
front. Finely chased fluted columns ; gilt- 
brass mounts. 


CARD-T ABLE, 


Buhl ; richly ornamented. Inlaid with 
tortoise shell and brass ; classical and con- 
ventionalized leaf designs. Mounted with 
masks and mouldings in gilt brass. 

213 


881 Bronze Carp RECEIVER. ? 
Orpheus and Eurydice in bas-relief, by 

E, Picault ; salon of 1869. Mounted on — 

classic “et brass tripod. 4 


882 CENTRE TABLE. 
Marquetry. Finely inlaid with classic 

designs in various colored woods; gilt- 
bronze mounts. | 


883 CORNER TABLE, 
Brass and onyx. 


884 Bric-A-BRAC CABINET. 


Mahogany. Marie Antoinette style. 
Bevelled plate glass top and shelf; mirror 
back ; gilt mountings. | 


885 Bric-A-BRAC STAND. 
Brass and bevelled plate glass. 


886 RouND TABLE. 
Marquetry. Rich inlay of flowers. 


887 Bric-A-BRAC CABINET. 


Ebony. Glass front and sides. Berlin 
porcelain columns entwined with raised 
vines and flowers. Seventeen Berlin porce- 
lain panels, and two Berlin porcelain vases 
surmounting the capital; rich bronze-gilt 
mounts ; mirror back. 

Height, 84 inches; width, 40 inches. 


888 Bric-A-Brac TABLE. 
Onyx and brass ; claw feet. 


889 ‘TABOURET. 


Mahogany and brass; inlaid. Moorish 
design. 


214 


890 


891 


892 


893 


894 


895 


896 


Bric-A-BRAC CABINET. 

Vernis-Martin. Swell front; glass panels 
in door, front, and sides. Marbletop. Dec- 
oration of pastoral subjects, by A. Oliver ; 
flowers, musical instruments, and land-. 
scapes. Rich brass mountings. 

Height, 53 inches; width, 51 inches. 


Bric-A-BRAC CABINET. 

Buhl. Ebony inlaid. Glass front; very 
elaborate mounting of masks, flowers, and 
classic mouldings in finely chased gilt 
bronze. Black marble top. 

Height, 48 inches ; width, 39 inches. 


Bric-A-Brac TABLE, 
Onyx and brass, with two bevelled plate 
glass shelves. 


CENTRE TABLE. 
Ebony; inlaid. Octagonal form; onyx 
top, with four Japanese cloisonné enamelled 
plaques. 


CABINET, 

Ebony and brass inlaid. Glass front and 
sides; black marble top. Caryatides of 
female figures. Foliage and mouldings in 
gilt brass. 

Height, 46 inches ; width, 52 inches. 
CENTRE TABLE, 

Rosewood. Onyx marble top; richly in- 
laid panels on the sides, and ends of cherubs 
sporting in relief. Circular repoussé panel 
in bronze representing the Angel appear- 
ing to Adam and Eve. Two oblong re- 
poussé panels on richly carved stretcher. 


CarD TABLE. 

Buhl; richly ornamented. Inlaid with 
tortoise shell and brass, with cherubs and 
conventionalized foliage; mounted with 
masks and mouldings in gilt brass. 

215 


898 CABINET. 


Buhl. Louis XV. style, Inlaid with brass 
and tortoise shell, rams’ heads, masks, and — 
foliage mounts. Elaborate brass mould 
ings ; black Scola top. : 

| Height, 43 inches ; width, 65 inches. 


899 CABINET. 


Louis XV. Gilt inlaid ; ‘brass and tor- 
toise shell éohveutionaieee foliage designs, 
Finely modelled female caryatides sup-— “B 
porting a basket of fruit on corners. Elabo- 4 e 
rate frieze of acanthus leaves. Scroll work, 
rosettes, and mouldings in gilt brass. 

Height, E ia width, 82 inches. 
g00 CHAIR, | 


Gilt frame. Recennon upholstered if 
embroidered silk plush. 


902 SOFA. ae a 
Louis XVI. Gilt frame, finely carved a 
upholstered in silk brocade. Bee 
903. Two ARMCHAIRS, | g 

To match the preceding, a 
go4 Two Sipe CHAIRS, 

To match the preceding. 


905 FouR-FOLD SCREEN. 


Panels decorated with full-length por- 
traits of celebrated female opera singers, by 
the French artist Habert. 


AMERICAN ART ASSOCIATION, 
MANAGERS, 


THomAS E. KIrBy, 


Auctioneer. 


SEARCH INST 


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